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Mapping the Animation Industry in Europe

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Mapping the Animation Industry in Europe A publication of the European Audiovisual Observatory Mapping the Animation Industry in Europe Marta Jiménez Pumares Patrizia Simone Deirdre Kevin Laura Ene Julio Talavera Milla MAPPING THE ANIMATION INDUSTRY IN EUROPE © European Audiovisual Observatory (Council of Europe), Strasbourg, 2015 Director of publication – Susanne Nikoltchev, Executive Director Editorial supervision – Gilles Fontaine, Head of Department for Information on Markets and Financing Editorial team – Marta Jiménez Pumares, Patrizia Simone European Audiovisual Observatory Authors Marta Jiménez Pumares, Animation Analyst Patrizia Simone, Junior Analyst Deirdre Kevin, TV Analyst Laura Ene, Junior Analyst Julio Talavera Milla, Film Analyst European Audiovisual Observatory Disclaimers: Opinions expressed in this publication are personal and do not necessarily represent the views of the Observatory, its members or the Council of Europe. Special thanks to: André Lange, Christian Grece, Martin Kanzler and Agnes Schneeberger from the Department for Information on Markets and Financing at the European Audiovisual Observatory; Patrick Eveno and Mickaël Marin from CITIA (and Géraldine Baché, Anne Jegard, Thomas Sicre); Marc Vanderweyer from CARTOON (and Christophe Erbes, Mike Robinson, David Matamoros); Paul Young (Cartoon Saloon); Luca Milano, RAI; Carlos Biern, BRB; Marc du Pontavice (Xilam); Roberto Olla and Iris Cadoux from Eurimages; Gareth Lee, Animation Skillnet; Eileen Bell, Enterprise Ireland; Bob Thompson, Film London; Diboos (C. Biern, M. Cristóbal, Á. Molinero, R. Zarauza); Draško Ivezić, Adriatic Animation; Lindsay Watson, Canuk Productions; Zofia Ścisłowska, SPPA; Tim Wescott from Animation Europe; José Luis Farias, 3D Wire; Lucy Smith, Conference Director MIPCOM & MIPTV, Director MIPJunior, MIPDoc & MIPFormats; Eva Zalve; Ajo Vadillo; Victoria Fernández Andrino. A publication of the European Audiovisual Observatory Mapping the Animation Industry in Europe Marta Jiménez Pumares Patrizia Simone Deirdre Kevin Laura Ene Julio Talavera Milla Table of contents Executive summary ............................................................................................................................ 5 Introduction and methodology .......................................................................................................... 8 1. Animation production and distribution in Europe ......................................................................10 1.1 Film production / Theatrical animation .................................................................................10 1.1.1 World ................................................................................................................................. 12 1.1.2 Europe ............................................................................................................................... 14 1.1.3 France ................................................................................................................................ 24 1.1.4 Germany ............................................................................................................................ 28 1.1.5 Italy .................................................................................................................................... 32 1.1.6 Spain .................................................................................................................................. 36 1.1.7 United Kingdom ................................................................................................................. 40 1.1.8 Other European countries ................................................................................................. 44 1.1.9 Minority co-production countries ..................................................................................... 52 1.1.10 Turkey .............................................................................................................................. 55 1.1.11 Russian Federation .......................................................................................................... 56 1.1 12 North America ................................................................................................................. 58 1.1.13 Asia .................................................................................................................................. 62 1.2 TV and VOD production and distribution ...............................................................................64 1.2.1 European linear (television) and non-linear (on-demand) audiovisual services ............... 64 1.2.2 Mapping European television ............................................................................................ 66 1.2.3 France ................................................................................................................................ 71 1.2.4 Germany ............................................................................................................................ 74 1.2.5 Italy .................................................................................................................................... 76 1.2.6 Spain .................................................................................................................................. 78 1.2.7 United Kingdom ................................................................................................................. 80 1.2.8 On-demand services .......................................................................................................... 86 2. The European animation industry in transition ..........................................................................88 2.1 Overview: A transition phase .................................................................................................89 2.2 The challenges of measuring the European animation industry ...........................................92 2.3 The impact of internet on distribution ...................................................................................95 2.4 Animation as the management of IP ....................................................................................101 2.5 Enlarging the audience .........................................................................................................104 2.6 An on-going restructuring process .......................................................................................104 3. The key role of public funding ...................................................................................................107 3.1 Public funding – direct funding ............................................................................................108 MAPPING THE ANIMATION INDUSTRY IN EUROPE 3.2 Public funding – fiscal incentives ..........................................................................................115 3.3 Public funding – mandatory investments from broadcasters ..............................................123 4. Training ......................................................................................................................................132 4.1 Types of training in animation ..............................................................................................132 4.2 Trends in education ..............................................................................................................133 5. Festivals and awards..................................................................................................................137 5.1 New trends in animation festivals ........................................................................................137 5.2 Animation awards and other success indicators ..................................................................142 Sources ...........................................................................................................................................151 4 MAPPING THE ANIMATION INDUSTRY IN EUROPE Executive summary The following are the key findings: Animation production and distribution in Europe 14.7% of European admissions go to animation films. European animation only gets 20% of the animation market in Europe. A yearly average of 50 animation films produced in Europe. Russia, the UK and France accounting for more than half of the yearly average admissions to animation in Europe between 2010 and 2014. Of the 188 new animation films on release in the European Union in 2014, 107 were produced in the EU. However, the 44 American films on release accounted for most of the box office for animation that year. UK animation – with 53.5 million admissions abroad, tops the list when it comes to admissions abroad. From a total of 301 (plus an additional 40 HD simulcasts), 217 children channels are established in the European Union by US affiliates. France stands as the first European country with the highest number of TV animation hours produced, with 285 hours in 2015. The proportion of European works broadcast by European children channels seems to be linked to the dynamics of each national animation industry. UK or France children channels propose a high share of national animation. The proportion of European animation also strongly varies between European VOD paltforms. US (and sometimes Japan) are generally the first source of programming. The animation industry in transition The measurement of the European animation industry is a challenge: there is no comprehensive data
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