Published online: 24 Feb 2009.

Size: px
Start display at page:

Download "Published online: 24 Feb 2009."

Transcription

1 This article was downloaded by: [Ecole Hautes Etudes Commer-Montreal] On: 22 July 2014, At: 16:40 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: Registered office: Mortimer House, Mortimer Street, London W1T 3JH, UK International Journal of Cultural Policy Publication details, including instructions for authors and subscription information: Comparative analysis of French and French Canadian willingness to support the national film industry Dominique Bégin a, François Colbert a & Ruth Dupré a a École des Hautes Études Commerciales de Montréal, Canada Published online: 24 Feb To cite this article: Dominique Bégin, François Colbert & Ruth Dupré (2000) Comparative analysis of French and French Canadian willingness to support the national film industry, International Journal of Cultural Policy, 7:2, , DOI: / To link to this article: PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the Content ) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at

2 Comparative Analysis of French and French-Canadian Willingness to Support the National Film Industry Dominique Bégin, François Colbert and Ruth Dupré École des Hautes Études Commerciales de Montréal, Canada Members of the cultural sector are using different arguments, including economic arguments, to convince governments that they should pour money into their sector. Economists, sociologists and political scientists have analysed those arguments invoked in favour or opposed to government involvement in the arts. For example, academics such as Heilbrun and Gray (1993), Bakke (1996), West (1985), Carrol (1987), Cwi (1979), Hoskin, McFayden and Finn (1998), Baumöl and Bowen (1984), Globerman (1987), to name just a few, have compared the validity of notions such as 'positive externalities/ 'merit goods,' 'cost disease,' 'small markets' or 'economic impacts including job creation,' and have given the pros and cons of those arguments. Others have put forward counter arguments such as: 'politicians are swayed by the lobbying power of small interest groups, not the general public' (Stigler, 1971); 'even after more than 40 years of public intervention in the arts, the vast majority tickets to classical music concerts are still being purchased by the same highly educated segment of the population' (Zimmer and Toepler, 1996); and 'public subsidies to contemporary art diminish the impact of the market judgment in the short term leaving the real test to an eventual meeting with real general taste and the work of art' (Urfalino, 1989). In spite of these debates, governments have continued to invest public funds into the arts and cultural industries for decades. Cultural Policy, Vol. 7, No. 2, pp Reprints available directly from the publisher Photocopying permitted by license only 2000 OPA (Overseas Publishers Association) N.V. Published by license under the Harwood Academic Publishers imprint, part of The Gordon and Breach Publishing Group. éditions des archives contemporaines Printed in Malaysia. 355

3 356 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ PURPOSE OF OUR RESEARCH Arguments for or against government intervention can in a sense be resolved if taxpayers are willing to see their money put toward a specific cause in this case, the cultural sector. Indeed, perhaps the best argument for public commitment is the wishes of citizens. When taxpayers approve of a government investment, politicians are justified in going ahead. Otherwise, it is the responsibility of those seeking funds to make their case. One would expect populations to be willing to see their taxes serve to help such activities as museums since museums are nonprofit institutions that enjoy fairly wide public acceptance, largely due to the fact they are assimilated into education and education is well regarded by the vast majority of the population. For instance, a study done by the Chair in Arts Management at the École des Hautes Études Commerciales de Montréal, aimed at measuring the importance citizens attach to investment in museums (Martin, 1991), showed that Quebec citizens are willing to give more money to museums than that which they pay through taxes, because they consider that museums play a very important role in the protection of their cultural heritage and because this sector contributes to the general education of children. This study was conducted using contingent evaluation analysis. 1 Having established this, we were interested in investigating citizens' opinions in relation to a more commercial context than that represented by museums. The movie industry is clearly dominated by for-profit production companies. In this current study, we are concerned with respondents' willingness to pay to support an industry that is widely regarded as generating large profits. Moreover, we compare the opinions of moviegoers in two francophone countries that use different systems of financing; in France a set tax is imposed on each movie ticket (11%), on television stations (5.5% of the broadcaster's revenues) and on video producers (2% of revenues); in Quebec, support is provided through grants drawn directly from the governments' general income tax revenues. We thus intended to measure the willingness to pay of current moviegoers in those two countries and the difference in this willingness to pay according to the system (France versus Quebec). More importantly, however, we are interested in the reasons behind this willingness to see tax dollars spent on the cultural sector.

4 COMPARATIVE ANALYSIS OF SUPPORT TO THE FILM INDUSTRY 357 Our decision to compare France and Quebec was motivated by the fact that France has always presented culture as the flagship of its international offensive, just as the protection of national culture has always been a major concern in Quebec; and by the fact that both are francophone territories that always felt that their cultural specificity was threatened by American feature film productions invading their market. GENERAL PROFILE OF THE FILM INDUSTRY IN FRANCE AND QUEBEC The Canadian Situation As the international readers of this review are probably not as familiar with Quebec as they are with France, it might be useful to first very briefly describe the Canadian situation. Canada is divided into ten provinces and two territories and has a population of 30 million people, most of whom are concentrated in three major metropolitan regions: Montreal, Toronto and Vancouver. Francophones account for less than 25% of this population and are concentrated in the province of Quebec, a small, predominantly French-speaking island' of seven million people lost in a sea of over 300 million Anglophones representing English Canada and the USA. Most of the Canadian population lives within a few hundred kilometres from the American border, a border approximately 6,000 kilometres long. Some observers say the Americans look upon Canada as merely another state within the Union. Protection of Canadian culture is unsurprisingly a subject of perpetual debate in Canada, and attempts to establish protective measures against the so-called invasion of American cultural products are continually at the forefront. These same debates also preoccupy the people of the province of Quebec, where they are often linked to a broader discourse based on the desire of part of the population to separate from the rest of the country. In Quebec, a large proportion of the population is not fluent in English, creating a language phenomenon that actually constitutes a sort of barrier to the consumption of American cultural products. This is particularly true in the fields of theatre and television programming; in the latter instance, local productions boast a large share of the audience. On the other hand, the English-speaking part

5 358 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ of the country finds itself dealing with the exact opposite situation: a large majority of viewers watch American channels. It is worth noting, however, that French-speaking consumers buy mainly foreign popular music, films and books; indeed, French versions of American films and books are usually available on the market very soon after their launch in the United States. The Film Industry in France and in Quebec Interestingly enough, Quebec produces more films per capita than France (4.3 films per million people in Quebec versus 2.8 per million in France). Of course, given the difference in the size of the population, respectively at 7.7 and 53 million, the French annual production of films is five times that of Quebec. Indeed, with an annual production of 150 feature films between 1984 and 1993, France is the most important producer and coproducer of films in Europe (Creton, 1994). In 1997, 163 films were released, representing a total investment of 4.6 billion francs, of which 1.2 billion came from public sources. Most of the production companies are small enterprises that release only one film on the market each year; the 20 larger production companies account for the majority of films produced. The market share of French films on the national territory was 37.3% in 1997 while American films accounted for 54.7% of the market. As Table 1 shows, this is one of the highest proportion occupied by national movies in the world. After the U.S. where the proportion is 98%, only France and Japan have a share larger than a third. In Quebec, the annual number of feature films produced is in the order of 30 to 35. The market share of Quebec film productions was 2.7% in 1997; films produced in France occupy 4.5% of the market and American productions some 87% of revenues. Quebec looks in this respect like small countries such as Belgium or the Netherlands (see Table 1). Among the 50 most successful feature films presented in the province between 1995 and 1997, only four were not American and only one was a native Quebec production. It is rare for a Canadian feature film to reimburse even a small portion of the public investment made on a recoupment basis. The exhibition sector in France and in Quebec is comparable with some differences. According to Creton (1997), there were in France in 1996, 2,139 theatres, 4,519 screens for an average attendance of

6 COMPARATIVE ANALYSIS OF SUPPORT TO THE FILM INDUSTRY 359 TABLE 1 An international comparison of the film market shares, 1997 Country Market Share of National Market Share of U.S. Movies [in % of revenues] Movies [in % of revenues] France Quebec U.S.A Belgium Germany Italy Japan Netherlands Spain Sweden U.K Source: Siroën (1999:17). 30,117 per screen and a per capita attendance of 4.6 annually; this compares to the province of Quebec where in 1995 there were 126 theatres, 434 screens for an average attendance of 42,279 per screen and a per capita attendance of 2.5 annually (Statistics Canada, 1997). Public Film Policy in France and in Quebec In both communities, the film industry is supported by a set of governmental measures. In France, the Centre National de Cinématographie (CNC) manages the special financial fund for the film industry, the Compte de soutienfinancier.as we saw, the fund is financed by a special tax on tickets (11%) and a contribution from the television and video industries. Producers, distributors and cinema owners receive an automatic grant proportional to their contribution to the Compte de soutien financier and a selective amount, mostly as an advance on anticipated revenues. Tax deductions for the SOFICAS, those specialized financial organizations which promote investment in the film industry, also play a major role. Finally, regulation is also used as an instrument to encourage domestic production. National television channels have to broadcast a minimum of 40% of French and 60% of European productions. Canada also has various legislative measures aimed at supporting its cultural sector, including imposing a minimum percentage

7 360 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ of Canadian content in media programming, as well as providing direct support to the field. A governmental agency called the CRTC (Canadian Radio-Television and Telecommunications Commission) regulates Canadian content on the air and in the magazine business. Arm's-length agencies such as Telefilm Canada and the Canadian Television Fund distribute grants to support the development of film and television programming. There are also tax credits. In addition, the province of Quebec has various departments and agencies through which it intervenes in the cultural sector. For the film industry, the main agency is the Société de développement des industries culturelles et des communications (SODEC). Film producers living in Quebec can, and do, knock at the door of both levels of government in search of support, allowing them to benefit from provincial as well as federal funds. In 1997, the total amount of public spending for feature films was about 1.2 billion francs in France and some ISO million Can $ in Quebec. To compare the extent of financial support in the two communities, we have to look at these figures in per capita terms and in the same monetary unit. Converted at the rate of 4 FF = 1$, this represented $5.60 in France and $6.75 in Quebec. Quebec was thus spending three times more than France, once adjusted for the population. METHODOLOGY In order to obtain the necessary data, we used a convenient sample of moviegoers chosen at random in two cities: Paris and Montreal. This category of consumers represents an important segment of the population in both countries, with 57% (1997) of French population and 59% of Quebec population (1994) being moviegoers. The survey was conducted directly at movie theatres; before the presentation of the movie, we interviewed an average of five consumers in 28 different theatres in Paris in September 1998, and in 24 different theatres in Montreal in December 1998 and January The movie theatres were selected in different districts in each city in order to cover the entire territory. All films were either of French or French-Canadian origin, or a French version of a foreign production; they represented a broad spectrum of topics and genres. The same interviewer administered a questionnaire to 130 respondents in Paris and 123 respondents in Montreal. In both cities,

8 COMPARATIVE ANALYSIS OF SUPPORT TO THE FILM INDUSTRY 361 the respondents, aged 15 or over, were chosen at random before the showing of the film. The questionnaire was slightly different in each city, in order to take into account the specific system of government intervention in France and in Quebec/Canada. Despite these slight variations, however, the questions still allow us to compare the two populations. Both questionnaires were pretested before being administered. In our Quebec sample, 29% of respondents report going to the movies more than 52 times a year, 42% between 12 and 51 times, and 28% between 1 and 11 times. In France, these proportions are 26% for those who go to the movies more than 52 times a year, 47% between 12 and 51 times, and 27% between 1 and 11 times. The fact that there are two main categories of frequent moviegoers is well documented in the literature (see, for instance, Conseil de l'europe, 1991; Creton, 1994); they are the category of 15 to 25 year-olds and the well-educated segment of the population. It is not surprising then that young people are over-represented in our sample compared to the general population (Table 2), and that university graduates make up a strong portion of our sample, 31% in Quebec and 56% in France. 2 The results of this study must be interpreted with caution, as our sampling method does not allow us to extrapolate the results to the entire population of moviegoers. Nor can we claim that these findings represent the views of the general population. The best we can say Gender TABLE 2 Comparative characteristics of the general population and the sample Characteristics Men Women France General population France Sample % Quebec General population Quebec Sample % Age Under 15 years old

9 362 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ is that we have a comparison between the opinions of moviegoers in the two largest francophone cities in the world (Montreal and Paris). We therefore prefer to look upon this as an exploratory study, even though the overall sample is statistically significant. The fact that the interviewers were required to interview only five customers per movie theatre may skew the sample; however, the reader should note that the interviews were all conducted by the same person. Another possible bias of the study concerns the questions related to the willingness of respondents to see more of their taxes go to the film industry and, especially, to add a new tax or increase an existing tax on each ticket. Since this possibility is theoretical and does not require the respondent to commit immediately, it may increase the probability of a positive answer, and in doing so, overestimate the results. In future research, we intend to test the hypotheses generated by the current study on a representative sample of the general population. This would not only permit us to validate our results, but it would also allow us to survey the segment of the population who are not moviegoers. RESULTS 1. Willingness to Pay The basic purpose of the study was to determine whether respondents are willing to pay taxes to encourage local feature film production, and, if yes, to discover the reasons for their attitude. We asked the respondents to indicate if they agree with the principle of handing over taxpayer dollars to the film industry. Moviegoers from Quebec agree with this principle in a proportion of 91%, while 5% are against and 4% do not know. In France, 84% of respondents agree with this principle, while 11% do not agree and 5% do not know. Our survey findings indicate not only that respondents agree with the principle that a portion of their taxes should be distributed to the film industry, but, more importantly, that they would accept an increase in the funding of feature film production. We documented this aspect in two ways: we asked respondents to indicate if they

10 COMPARATIVE ANALYSIS OF SUPPORT TO THE FILM INDUSTRY 363 would be prepared to pay more for their movie ticket in order to include a special tax (or to increase the current tax in the case of French spectators), and if they would accept an increase in their income tax (in Quebec) or in the television tax (in France) in order to support the film industry. In Quebec, the average increase moviegoers would be willing to pay on their ticket price is $1.25 (the average ticket price is $8); interestingly enough, only 9% would not go to movies if the ticket price were increased. In France, the acceptable average increase on the ticket price was 4.04 francs ($1.01), which represents a doubling of the current tax on ticket price. We also asked respondents if they are satisfied with the proportion of their income tax that is directed to the film industry. To help respondents give an informed opinion, the interviewers had on hand figures indicating the approximate amount of income tax paid per income category and the average amount spent on the film industry per taxpayer. A total of 43% of our Quebec respondents consider this level to be satisfactory, 43% consider it to be too low, and only 3% find the amount too high. The average amount of income tax distributed to the film industry is $13.83 per citizen; respondents are, on average, prepared to see this amount double. In France, the government charges 30 francs per taxpayer in the form of a special tax on television ownership. Asked whether they are satisfied with the level of this tax, 35% of the French respondents consider that the amount of the special tax distributed to the film industry is satisfactory, 25% believe it is too low and 11% find it too high (29% did not answer the question). The French respondents were, of course, given an indication of the level of this special tax. On average, respondents who are willing to pay more would give francs on top of the current amount, while even those who are not willing to pay more would nonetheless accept an increase of francs. The survey also asked respondents in both countries to indicate if they go to the movies to see domestic films, the aim being to determine whether interest in local productions has an impact on moviegoers' willingness to pay more taxes to the film industry. The responses indicate that French viewers attend locally produced films in a greater proportion than Quebec respondents. In Quebec, only 20% of the sample indicate that they go to Quebec-made movies often or very often, while in France, this proportion is 45% (the reader must remember there are more French films available per capita because of greater number of French films produced). As we can observe, the fact that only a minority of moviegoers are interested in

11 364 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ domestically produced films does not prevent them from according importance to funding of the film industry. We were also eager to investigate the perception of moviegoers with regard to the profitability of the movie industry. We suspected that taxpayers would not be willing to see their tax dollars (or francs) go to an industry that makes profits. Approximately half of the French audience believes that the film industry makes a profit on films, while this proportion is only 40% in Quebec. Again, it is interesting to note that this belief does not detract from moviegoers' willingness to support their respective industry. In fact, 47% of Quebec respondents and 24% of French respondents are convinced that their film industry would not survive without government support, while 32% of Quebeckers and 20% of the French believe the industry would face serious difficulties without such funding. Those who are unwilling to see their tax dollars go to the movie sector believe that film producers can survive on their own in the market and that it is not the role of the State of fund this type of industry. 2. Arguments for Public Investment in the Film Industry In order to find out why moviegoers believe governments should invest in the film industry through grants to producers, we asked respondents to indicate the main reason they would present to their constituencies in order to justify their position on this issue if they were members of parliament (Table 3). The top argument on the list of reasons for both countries is the protection of their respective culture. Arguments relating to job creation, reduction of ticket prices or economic impact did not show up in the results. From the data, we can identify certain differences in the two populations under study. First, although the main argument in both countries, there is a difference in the respective percentages of respondents who cite protection of national culture as a justification for government subsidy of the film industry (47% in Quebec versus 35% in France). The second most frequent reason given is, in the case of Quebec moviegoers (24%), the long-term survival of this industry, while in France it is to favour diversity in film production (23%). These differences could be attributed to two factors. First, the French film industry enjoys a significantly higher share of the market than the Quebec industry; as such, it is understandable that French moviegoers would show greater interest in the diversity of

12 COMPARATIVE ANALYSIS OF SUPPORT TO THE FILM INDUSTRY 365 TABLE 3 Most frequent reasons cited to justify subsidies to the film industry: A comparison of France and Quebec France % Quebec % Protect the long-term survival of the industry Protection of national culture Improve quality of films Lower ticket prices Favour diversity of film offerings Favour the teaching of cinema in school Other None 16% 35% 9% 7% 23% 4% 3% 3% Protect the long-term survival of the industry Protection of national culture Improve quality of films Lower ticket prices Favour diversity of film offerings Favour the teaching of cinema in school Other None 24% 47% 17% 2% 4% 2% 2% 2% the films offered. On the other hand, the Quebec industry's position in the market is much less comfortable, even more so considering the particular geographic situation of Quebec society. Indeed, the fact of existing in a sea of 300 million anglophones in a territory far removed from any other country and, thus, other cultures may bestow a sense of fragility on an industry that is seen as important for the preservation of Quebec culture. The arguments cited by the respondents can perhaps be summarized in two categories. A first category can be linked to the presence of positive externalities as identified by moviegoers. Protection of one's national culture and favouring film education in school seem to be two reasons that can easily be considered to fall under this category of argument. Respondents in this category agree that the film industry has a role to play in strengthening national identity; in doing so, they imply that it plays a social role that may benefit society as a whole through social interaction between those who consume and those who do not consume cinema. The second argument falls under the category of market characteristics as defined by Hoskins, McFayden and Finn (1998). The domestic market in the case of Quebec is small and seen as barely capable of sustaining a viable industry. When accepted by taxpayers as a valid argument, this may become a powerful argument when linked to the first one. The case of France is less clear; the population is larger

13 366 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ (58 million), with the result that the market can accommodate a greater number of productions, especially when attendance at local films is at an acceptable level and domination by the American industry is less evident. CONCLUSIONS In general, our results show that moviegoers in the province of Quebec and in France agree with government subsidy of the film industry and are willing to pay more in taxes to support the national film industry than that which is already spent on their behalf by their respective governments. The main argument to justify supporting the national film industry in both countries is the protection of national culture; this argument enjoys strong support among both populations. This argument falls under what Heilbrun and Gray (1993) describe as positive externalities linked to national identity and prestige; the other categories listed by Heilbrun and Gray are: availability of the good, legacy for future generations, contribution to a liberal education and social improvement of arts participation, encouragement of artistic innovation). Interestingly enough, arguments linked to job creation, heritage protection or the encouragement of artistic innovation (art for art's sake) are not seen as important. * Taken at face value, these findings could imply that the governments of France and Quebec are justified in subsidizing the film industry. However, it is important to remember that even if moviegoers represent a majority of the population (57% and 59% for France and Quebec), the sample was not drawn from the total population; it is also important to point out that the respondents were not asked to prioritize the different sectors benefitting from government support; it would have been interesting, for example, to ask the respondents if they would agree to see their taxes raised in order to support the film industry, or, if not, to have them rank film production compared to health or education as an area of government spending. This raises the question of the extent to which a country's citizens believe public/government funds should be spent on cultural goods. Another issue raised by our data concerns cultural policy methods and regulations. We have seen that the two jurisdictions under investigation use different methods in terms of the funding of their

14 COMPARATIVE ANALYSIS OF SUPPORT TO THE FILM INDUSTRY 367 national film industry. It is not easy to determine what the best methods are for encouraging and supporting the creation, production and dissemination of specific cultural goods such as movies. Should the movie industry be supported directly from the State budget administered by a cultural agency? Should it be supported indirectly through subsidies aimed at reducing ticket prices? Or should it be left to the private sector, with no government intervention? Different countries around the world have adopted different approaches to this issue depending on the level of public support for the arts and culture and the position of these arguments within a country's political value system what could be called its 'political culture.' NOTES 1. In a contingent evaluation, taxpayers are asked directly about the value they attach to an advantage or an expense according to their willingness to pay or to accept. 2. The proportion of university graduates (or the its French equivalent) is approximately the same in the two populations under study; the difference in the sample is probably due to the sampling method. REFERENCES Bakke, Marit (1996) Cultural Policy in the United States and Norway. 22nd Annual Conference on Social Theory, Politics and the Arts, Chaire de gestion des arts, École des Hautes Études Commerciales de Montréal, Montreal, 326 pp. Baumol, William J. and William G. Bowen (1984) Inflation and the Performing Arts. New York: New York University Press, 210 pp. Carrol, Noel (1987) 'Can Government Funding of the Arts be Justified Theoretically,' Journal of Aesthetic Education, 21, Colbert, François (1997) 'Changes in Marketing Environment and their Impact on Cultural Policy,' Journal of Arts Management Law and Society, 27(3), Creton, Laurent (1994) Économie et Cinéma. Paris: Nathan, 287 pp. Creton, Laurent (1997) Cinéma et marchés. Paris: Armand Collin/Masson, 254 pp. Conseil de l'europe (1993) Participation à la vie culturelle en Europe: Tendances, stratégies et défis, Table ronde de Moscou La documentation française, 229 pp. Cwi, David (1979) 'Public Support of the Arts: Three Arguments Examined,' Journal of Behavioural Economics, 8, Globerman, Steven (1987) Culture, Government and the Markets: Public Policy and the Culture Industries. The Fraser Institute, 51 pp. Heilbrun, James and Charles M. Gray (1993) The Economics of Arts and Culture, An American Perspective. New York: Cambridge University Press.

15 368 DOMINIQUE BEGIN, FRANÇOIS COLBERT AND RUTH DUPRÉ Hoskin, Colin, Mcfaydyen, Stuart and Finn, Adam (1998) 'The effect of cultural differences on the international Co-production of Television Programs and Feature Films.' Canadian Journal of Communication, 23(4), Martin, Fernand (1991) Une évaluation économique des musées. Chaire de gestion des arts, École des Hautes Études Commerciales de Montréal, 91 pp. Siroen, Jean-Marc (1999) Éléments d'analyse économique sur l'industrie mondiale du cinéma. Cahier CERESA, Université Paris Dauphine, 1999-no 3. Statistics Canada (1997) Canada's Culture, Heritage and Identity. A Statistical Perspective, 1997 Edition. Catalogue Annual, 146 pp. Urfalino, Philippe (1989) 'Les politiques culturelles : mécénat caché et académies invisibles,' Vannée sociologique, 39, West, Edwin G. (1985) Subsidising the Performing Arts. Ontario Economic Council, 141 pp. Zimmer, Annette and Toepler, Stefan (1996) 'Cultural Policies and the Welfare State: The Cases of Sweden, Germany, and the United States' Journal of Arts Management, Law and Society, 26(3), Fall 1996,

Appendix H: International Production Support Program

Appendix H: International Production Support Program Appendix H: International Production Support Program Fear of U.S. as content Hub 630 631 Leads to Protectionism in Content Imports Arguments for Content Protectionism National culture Employment Projection

More information

Communication Studies Publication details, including instructions for authors and subscription information:

Communication Studies Publication details, including instructions for authors and subscription information: This article was downloaded by: [University Of Maryland] On: 31 August 2012, At: 13:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer

More information

LOW-BUDGET INDEPENDENT FEATURE FILM ASSISTANCE PROGRAM GUIDELINES FOR

LOW-BUDGET INDEPENDENT FEATURE FILM ASSISTANCE PROGRAM GUIDELINES FOR LOW-BUDGET INDEPENDENT FEATURE FILM ASSISTANCE PROGRAM GUIDELINES FOR 2002-2003 These Guidelines are specific to the terms and conditions of the program for the fiscal year of 2002-2003 (which ends on

More information

Film consumers in Canada; three-year trends and focus group findings DOCUMENT CONFIDENTIEL

Film consumers in Canada; three-year trends and focus group findings DOCUMENT CONFIDENTIEL Film consumers in Canada; three-year trends and focus group findings 2014 MONTRÉAL, OCTOBRE 2012 DOCUMENT CONFIDENTIEL Context and methodology 2 Context and methodology Three-year trends - Surveys Telefilm

More information

Efficient, trusted, valued

Efficient, trusted, valued Efficient, trusted, valued Your ABC: Efficient, trusted, valued ABC Open Today, the ABC is better value for Australians than ever before. The ABC continues to adopt smarter ways of working and harness

More information

The Most Important Findings of the 2015 Music Industry Report

The Most Important Findings of the 2015 Music Industry Report The Most Important Findings of the 2015 Music Industry Report Commissioning Organizations and Objectives of the Study The study contained in the present Music Industry Report was commissioned by a group

More information

Motion Picture, Video and Television Program Production, Post-Production and Distribution Activities

Motion Picture, Video and Television Program Production, Post-Production and Distribution Activities The 31 th Voorburg Group Meeting Zagreb Croatia 19-23 September 2016 Mini-Presentation SPPI for ISIC4 Group 591 Motion Picture, Video and Television Program Production, Post-Production and Distribution

More information

2018 GUIDE Support for cinemas

2018 GUIDE Support for cinemas Strasbourg, 15 December 2017 2018 GUIDE Support for cinemas SUMMARY I Introduction 3 Support for cinemas... 4 Objectives... 4 II - Regulations concerning support for cinemas... 5 1. Eligibility... 5 2.

More information

Case study: Pepperdine University Libraries migration to OCLC s WorldShare

Case study: Pepperdine University Libraries migration to OCLC s WorldShare Pepperdine University From the SelectedWorks of Gan Ye (Grace Ye, 叶敢 ) February, 2012 Case study: Pepperdine University Libraries migration to OCLC s WorldShare Michael W Dula, Pepperdine University Gan

More information

House of Lords Select Committee on Communications

House of Lords Select Committee on Communications House of Lords Select Committee on Communications Inquiry into the Sustainability of Channel 4 Submission from Ben Roberts, Director BFI Film Fund on behalf of the British Film Institute Summary 1. In

More information

Catalogue no XIE. Television Broadcasting Industries

Catalogue no XIE. Television Broadcasting Industries Catalogue no. 56-207-XIE Television Broadcasting Industries 2006 How to obtain more information Specific inquiries about this product and related statistics or services should be directed to: Science,

More information

E. Wyllys Andrews 5th a a Northern Illinois University. To link to this article:

E. Wyllys Andrews 5th a a Northern Illinois University. To link to this article: This article was downloaded by: [University of Calgary] On: 28 October 2013, At: 23:03 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer

More information

Israel Film & Television Industry Facts and Figures at a Glance 2017

Israel Film & Television Industry Facts and Figures at a Glance 2017 Israel Film & Television Industry Facts and Figures at a Glance 2017 Prepared by: Katriel Schory Executive Director Haya Nastovici International Relations Making Films Come True The Israel Film Fund -

More information

Study on the audiovisual content viewing habits of Canadians in June 2014

Study on the audiovisual content viewing habits of Canadians in June 2014 Study on the audiovisual content viewing habits of Canadians in 2014 June 2014 Table of contents Context, objectives and methodology 3 Summary of results 9 Detailed results 14 Audiovisual content viewing

More information

FIM INTERNATIONAL SURVEY ON ORCHESTRAS

FIM INTERNATIONAL SURVEY ON ORCHESTRAS 1st FIM INTERNATIONAL ORCHESTRA CONFERENCE Berlin April 7-9, 2008 FIM INTERNATIONAL SURVEY ON ORCHESTRAS Report By Kate McBain watna.communications Musicians of today, orchestras of tomorrow! A. Orchestras

More information

Australian Broadcasting Corporation. submission to. National Cultural Policy Consultation

Australian Broadcasting Corporation. submission to. National Cultural Policy Consultation Australian Broadcasting Corporation submission to National Cultural Policy Consultation February 2010 Introduction The Australian Broadcasting Corporation (ABC) welcomes the opportunity to provide a submission

More information

FILM POLICY FOR IRELAND S NATIONAL BROADCASTER

FILM POLICY FOR IRELAND S NATIONAL BROADCASTER FILM POLICY FOR IRELAND S NATIONAL BROADCASTER 2016 1 Page 2016 SCREEN PRODUCERS IRELAND Film Policy for Ireland s National Broadcaster Screen Producers Ireland is the national representative organisation

More information

Mr. Robert A. Morin Secretary General Canadian Radio-television and Telecommunications Commission Ottawa, Ontario K1A 0N2. Dear Mr.

Mr. Robert A. Morin Secretary General Canadian Radio-television and Telecommunications Commission Ottawa, Ontario K1A 0N2. Dear Mr. September 27, 2011 Filed Electronically Mr. Robert A. Morin Secretary General Canadian Radio-television and Telecommunications Commission Ottawa, Ontario K1A 0N2 Dear Mr. Morin: Re: Broadcasting Notice

More information

COMMUNICATIONS OUTLOOK 1999

COMMUNICATIONS OUTLOOK 1999 OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: Norway

More information

FILM POLICY FOR IRELAND S NATIONAL BROADCASTER

FILM POLICY FOR IRELAND S NATIONAL BROADCASTER FILM POLICY FOR IRELAND S NATIONAL BROADCASTER 1 P a g e 2015 SCREEN PRODUCERS IRELAND Film Policy for Ireland s National Broadcaster CORE POLICY In most European territories Public Service Broadcasters

More information

THEATRICAL DOCUMENTARY PROGRAM

THEATRICAL DOCUMENTARY PROGRAM THEATRICAL DOCUMENTARY PROGRAM ENGLISH-LANGUAGE AND FRENCH-LANGUAGE PROJECTS PRODUCTION AND POST-PRODUCTION STAGES GUIDELINES APPLICABLE AS OF AUGUST 13, 2018 GL / CFFF Theatrical Documentary/ Publication

More information

EUROPEAN COMMISSION. Brussels, 16/07/2008 C (2008) State aid N233/08 Latvia Latvian film support scheme 1. SUMMARY

EUROPEAN COMMISSION. Brussels, 16/07/2008 C (2008) State aid N233/08 Latvia Latvian film support scheme 1. SUMMARY EUROPEAN COMMISSION Brussels, 16/07/2008 C (2008) 3542 PUBLIC VERSION WORKING LANGUAGE This document is made available for information purposes only. Dear Sir Subject: State aid N233/08 Latvia Latvian

More information

2017 GUIDE. Support for theatres

2017 GUIDE. Support for theatres 2017 GUIDE Support for theatres SUMMARY I Introduction 3 Support for theatres... 4 Objectives... 4 II - Regulations concerning support for theatres... 5 1. Eligibility... 5 2. Support access threshold...

More information

Alliance of Canadian Cinema, Television and Radio Artists ACTRA

Alliance of Canadian Cinema, Television and Radio Artists ACTRA Alliance of Canadian Cinema, Television and Radio Artists ACTRA Written Submission to The House of Commons Standing Committee on Canadian Heritage Feature Film Policy Review Consultations February 18,

More information

BINGE-WATCHING! TAX ISSUES! REGULATORY UNCERTAINTY!

BINGE-WATCHING! TAX ISSUES! REGULATORY UNCERTAINTY! NETFLIX IN CANADA BINGE-WATCHING! TAX ISSUES! REGULATORY UNCERTAINTY! benchart / Shutterstock.com A DISCUSSION PAPER FROM 5 April 2018 Table of contents Introduction... 1 A slightly embarrassing Canadian

More information

I thought it would be useful to append a list of our main points from Wednesday s meeting on the next page.

I thought it would be useful to append a list of our main points from Wednesday s meeting on the next page. Independent Producers Scotland Film City Glasgow 401 Govan Road GLASGOW G51 2QJ Friday 23 rd January 2015 Dear Members of Economy, Energy and Tourism Committee, Thank you for taking notice of the state

More information

PUBLIC INTEREST ADVOCACY CENTRE LE CENTRE POUR LA DÉFENSE DE L INTÉRÊT PUBLIC

PUBLIC INTEREST ADVOCACY CENTRE LE CENTRE POUR LA DÉFENSE DE L INTÉRÊT PUBLIC PUBLIC INTEREST ADVOCACY CENTRE LE CENTRE POUR LA DÉFENSE DE L INTÉRÊT PUBLIC The Public Interest Advocacy Centre (PIAC) is a non-profit organization based in Ottawa, Ontario that provides advocacy and

More information

Oral Remarks by Canadian Association of Film Distributors and Exporters (CAFDE) Delivered by Richard Rapkowski

Oral Remarks by Canadian Association of Film Distributors and Exporters (CAFDE) Delivered by Richard Rapkowski Oral Remarks by Canadian Association of Film Distributors and Exporters (CAFDE) Delivered by Richard Rapkowski Broadcasting Notice of Consultation Hearing CRTC 2014 190 Let s Talk TV September 19 th 2014

More information

AUSTRALIAN SUBSCRIPTION TELEVISION AND RADIO ASSOCIATION

AUSTRALIAN SUBSCRIPTION TELEVISION AND RADIO ASSOCIATION 7 December 2015 Intellectual Property Arrangements Inquiry Productivity Commission GPO Box 1428 CANBERRA CITY ACT 2601 By email: intellectual.property@pc.gov.au Dear Sir/Madam The Australian Subscription

More information

Legal conditions and criteria for film funding in Europe

Legal conditions and criteria for film funding in Europe Legal conditions and criteria for film funding in Europe Maja Cappello Head of Department for Legal Information European Audiovisual Observatory Film Funding Schemes A European Overview Podgorica, 11 June

More information

The Development of Film Policy in Canada and Japan -- From Cultural to Economic

The Development of Film Policy in Canada and Japan -- From Cultural to Economic Keio Communication Review No. 28, 2006 The Development of Film Policy in Canada and Japan -- From Cultural to Economic Minoru SUGAYA* Introduction The Japanese government has started to pay more attention

More information

CRS Report for Congress Received through the CRS Web

CRS Report for Congress Received through the CRS Web Order Code RS22306 October 20, 2005 CRS Report for Congress Received through the CRS Web Deficit Reduction and Spectrum Auctions: FY2006 Budget Reconciliation Linda K. Moore Analyst in Telecommunications

More information

Acknowledgements. An International Comparative Study

Acknowledgements. An International Comparative Study 1 Acknowledgements The Canadian Media Production Association (CMPA) wishes to thank the funders of this study: the Canada Media Fund, Telefilm Canada and the Ontario Media Development Corporation. Any

More information

COMMUNICATIONS OUTLOOK 1999

COMMUNICATIONS OUTLOOK 1999 OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: BELGIUM

More information

Seen on Screens: Viewing Canadian Feature Films on Multiple Platforms 2007 to April 2015

Seen on Screens: Viewing Canadian Feature Films on Multiple Platforms 2007 to April 2015 Seen on Screens: Viewing Canadian Feature Films on Multiple Platforms 2007 to 2013 April 2015 This publication is available upon request in alternative formats. This publication is available in PDF on

More information

CANADIAN AUDIENCE REPORT. Full report

CANADIAN AUDIENCE REPORT. Full report CANADIAN AUDIENCE REPORT Full report November 2017 TABLE OF CONTENTS INTRODUCTION 3 RESEARCH OBJECTIVES OVERALL KEY FINDINGS EXECUTIVE SUMMARY KEY FINDINGS: VIEWING HABITS KEY FINDINGS: ENGAGEMENT TOWARDS

More information

The Economic Impact of CBC/Radio- Canada.

The Economic Impact of CBC/Radio- Canada. The Economic Impact of CBC/Radio- Canada. Report for CBC/Radio-Canada 8 June 2011 This report has been prepared on the basis of the limitations set out in the engagement letter and the matters noted in

More information

Consultation on Repurposing the 600 MHz Band. Notice No. SLPB Published in the Canada Gazette, Part 1 Dated January 3, 2015

Consultation on Repurposing the 600 MHz Band. Notice No. SLPB Published in the Canada Gazette, Part 1 Dated January 3, 2015 Consultation on Repurposing the 600 MHz Band Notice No. SLPB-005-14 Published in the Canada Gazette, Part 1 Dated January 3, 2015 Comments of Ontario Ministry of Economic Development, Employment and Infrastructure

More information

COMMUNICATIONS OUTLOOK 1999

COMMUNICATIONS OUTLOOK 1999 OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: MEXICO

More information

COMMUNICATIONS OUTLOOK 1999

COMMUNICATIONS OUTLOOK 1999 OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: Denmark

More information

Broadcasting Decision CRTC

Broadcasting Decision CRTC Broadcasting Decision CRTC 2017-145 PDF version References: 2016-225, 2016-225-1, 2016-225-2, 2016-225-3 and 2016-225-4 Ottawa, 15 May 2017 Corus Entertainment Inc. Across Canada Application 2016-0022-1

More information

GUIDELINES. LOW BUDGET Production Program

GUIDELINES. LOW BUDGET Production Program GUIDELINES LOW BUDGET Production Program GUIDELINES Low Budget Production Program Table of Contents Table of Contents... 2 1. Mandate... 3 2. Structure... 3 3. Low Budget Production Program Overview...

More information

BFI RESEARCH AND STATISTICS PUBLISHED AUGUST 2016 THE UK FILM MARKET AS A WHOLE. Image: Mr Holmes courtesy of eone Films

BFI RESEARCH AND STATISTICS PUBLISHED AUGUST 2016 THE UK FILM MARKET AS A WHOLE. Image: Mr Holmes courtesy of eone Films BFI RESEARCH AND STATISTICS PUBLISHED AUGUST 2016 THE UK FILM MARKET AS A WHOLE Image: Mr Holmes courtesy of eone Films THE UK FILM MARKET AS A WHOLE The UK is the third largest film market in the world,

More information

Fordham International Law Journal

Fordham International Law Journal Fordham International Law Journal Volume 23, Issue 6 1999 Article 12 More Competition Through Deregulation: The German TV Market Ulrich Koch Copyright c 1999 by the authors. Fordham International Law Journal

More information

OECD COMMUNICATIONS OUTLOOK 2001 Broadcasting Section

OECD COMMUNICATIONS OUTLOOK 2001 Broadcasting Section OECD COMMUNICATIONS OUTLOOK 2001 Broadcasting Section Country: CANADA Date completed: June 29, 2000 1 Broadcasting services available BROADCASTING 1. Please provide details of the broadcasting and cable

More information

THE UK FILM ECONOMY B F I R E S E A R C H A N D S T A T I S T I C S

THE UK FILM ECONOMY B F I R E S E A R C H A N D S T A T I S T I C S THE UK FILM ECONOMY BFI RESEARCH AND STATISTICS PUBLISHED AUGUST 217 The UK film industry is a valuable component of the creative economy; in 215 its direct contribution to Gross Domestic Product was 5.2

More information

COMMUNICATIONS OUTLOOK 1999

COMMUNICATIONS OUTLOOK 1999 OCDE OECD ORGANISATION DE COOPÉRATION ET ORGANISATION FOR ECONOMIC DE DÉVELOPPEMENT ÉCONOMIQUES CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: Germany

More information

WIDER ISSUES FACING THE SOUTH AFRICAN AUDIOVISUAL AND CINEMA INDUSTRY Presented by: Adwoa Ankoma Legal, Policy and Compliance Officer National Film &

WIDER ISSUES FACING THE SOUTH AFRICAN AUDIOVISUAL AND CINEMA INDUSTRY Presented by: Adwoa Ankoma Legal, Policy and Compliance Officer National Film & WIDER ISSUES FACING THE SOUTH AFRICAN AUDIOVISUAL AND CINEMA INDUSTRY Presented by: Adwoa Ankoma Legal, Policy and Compliance Officer National Film & Video Foundation CONTENTS 1. Background 1.1 South Africa

More information

Keeping the Score. The impact of recapturing North American film and television sound recording work. Executive Summary

Keeping the Score. The impact of recapturing North American film and television sound recording work. Executive Summary The impact of recapturing North American film and television sound recording work Executive Summary December 2014 [This page is intentionally left blank.] Executive Summary Governments across the U.S.

More information

SALES DATA REPORT

SALES DATA REPORT SALES DATA REPORT 2013-16 EXECUTIVE SUMMARY AND HEADLINES PUBLISHED NOVEMBER 2017 ANALYSIS AND COMMENTARY BY Contents INTRODUCTION 3 Introduction by Fiona Allan 4 Introduction by David Brownlee 5 HEADLINES

More information

FEDERAL COURT OF APPEAL. - and - NOTICE OF MOTION (Motion for Leave to Appeal)

FEDERAL COURT OF APPEAL. - and - NOTICE OF MOTION (Motion for Leave to Appeal) Court File No. FEDERAL COURT OF APPEAL B E T W E E N: BELL CANADA and BELL MEDIA INC. Applicants - and - ATTORNEY GENERAL OF CANADA Respondent NOTICE OF MOTION (Motion for Leave to Appeal) TAKE NOTICE

More information

AUDIOVISUAL TREATY COPRODUCTIONS GOVERNED BY CANADIAN TREATIES THAT HAVE ENTERED INTO FORCE AS OF JULY 1, 2014

AUDIOVISUAL TREATY COPRODUCTIONS GOVERNED BY CANADIAN TREATIES THAT HAVE ENTERED INTO FORCE AS OF JULY 1, 2014 AUDIOVISUAL TREATY COPRODUCTIONS GOVERNED BY CANADIAN TREATIES THAT HAVE ENTERED INTO FORCE AS OF JULY 1, 2014 GUIDELINES Ce document est également disponible en français Preamble These guidelines follow

More information

Submission to Inquiry into subscription television broadcasting services in South Africa. From Cape Town TV

Submission to Inquiry into subscription television broadcasting services in South Africa. From Cape Town TV Submission to Inquiry into subscription television broadcasting services in South Africa From Cape Town TV 1 1. Introduction 1.1 Cape Town TV submits this document in response to the invitation by ICASA

More information

Metuchen Public Educational and Governmental (PEG) Television Station. Policies & Procedures

Metuchen Public Educational and Governmental (PEG) Television Station. Policies & Procedures Metuchen Public Educational and Governmental (PEG) Television Station Policies & Procedures TABLE OF CONTENTS Introduction 3 Purpose 4 Station Operations 4 Taping of Events 4 Use of MEtv Equipment 5 Independently

More information

1. Introduction. 2. Part A: Executive Summary

1. Introduction. 2. Part A: Executive Summary MTN'S RESPONSE TO ICASA'S INQUIRY INTO SUBSCRIPTION TELEVISION BROADCASTING SERVICES IN TERMS OF SECTION 4 B OF THE ICASA ACT 13 OF 2000 IN GORVENMENT GAZETTE NO. 41070 DATED 25 AUGUST 2017 1 P a g e 1.

More information

Broadband Changes Everything

Broadband Changes Everything Broadband Changes Everything OECD Roundtable On Communications Convergence UK Department of Trade and Industry Conference Centre London June 2-3, 2005 Michael Hennessy President Canadian Cable Telecommunications

More information

Broadcasting Decision CRTC

Broadcasting Decision CRTC Broadcasting Decision CRTC 2014-552 PDF version Route reference: Part 1 application posted on 16 May 2014 Ottawa, 27 October 2014 Newcap Inc. Lloydminster, Alberta Application 2014-0417-8 CITL-DT and CKSA-DT

More information

Digital Television Switchover. Michael Starks for Jamaica Broadcasting Commission

Digital Television Switchover. Michael Starks for Jamaica Broadcasting Commission Digital Television Switchover Michael Starks for Jamaica Broadcasting Commission 1. Outline What is digital television? Why have a switchover policy? Pioneers & common principles Research and feasibility

More information

2018 TEST CASE: LEGAL ONLINE OFFERS OF FILM EXECUTIVE SUMMARY

2018 TEST CASE: LEGAL ONLINE OFFERS OF FILM EXECUTIVE SUMMARY 2018 TEST CASE: LEGAL ONLINE OFFERS OF FILM EXECUTIVE SUMMARY FEBRUARY 2018 European Union Intellectual Property Office, 2018 Reproduction is authorised provided the source is acknowledged. 2018 REPORT

More information

N E W S R E L E A S E

N E W S R E L E A S E For Immediate Release 2013CSCD0016-000487 March 13, 2013 N E W S R E L E A S E B.C. film and TV production stable in 2012 VICTORIA Expenditures by filmmakers and television producers in British Columbia

More information

COMMUNICATIONS OUTLOOK 1999

COMMUNICATIONS OUTLOOK 1999 OCDE OECD ORGANISATION DE COOPÉRATION ET DE DÉVELOPPEMENT ÉCONOMIQUES ORGANISATION FOR ECONOMIC CO-OPERATION AND DEVELOPMENT COMMUNICATIONS OUTLOOK 1999 BROADCASTING: Regulatory Issues Country: Netherlands

More information

Ontario's domestic television sector continues to perform well and Ontario producers are receiving success and international recognition:

Ontario's domestic television sector continues to perform well and Ontario producers are receiving success and international recognition: Introduction Ontario's television production sector mainly comprises small- to medium-sized production companies, producing a combination of their own proprietary productions and foreign service productions

More information

Pulling the plug: Three-in-ten Canadians are forgoing home TV service in favour of online streaming

Pulling the plug: Three-in-ten Canadians are forgoing home TV service in favour of online streaming Pulling the plug: Three-in-ten Canadians are forgoing home TV service in favour of online streaming Despite availability of skinny cable packages, most current subscribers say TV service is too expensive

More information

The circulation of European co-productions and entirely national films in Europe

The circulation of European co-productions and entirely national films in Europe The circulation of European co-productions and entirely national films in Europe 2001 to 2007 Report prepared for the Council of Europe Film Policy Forum co-organised by the Council of Europe and the Polish

More information

Media and Data Converging Media and Content

Media and Data Converging Media and Content EUROPEAN COMMISSION Directorate-General for Communications Networks, Content and Technology Media and Data Converging Media and Content Questionnaire on the implementation of the Recommendation 1 of the

More information

It is a pleasure to have been invited here today to speak to you. [Introductory words]

It is a pleasure to have been invited here today to speak to you. [Introductory words] Audiovisual Industry Seminar WTO, Geneva, Wednesday 4 July 2001 Speech on "The economics of the sector - the UK example" Michael Flint, Deputy Chairman, BSAC [Slide 1] It is a pleasure to have been invited

More information

POLICY ON FAIR REGULATION OF BROADCASTERS

POLICY ON FAIR REGULATION OF BROADCASTERS POLICY ON FAIR REGULATION OF BROADCASTERS 2016 1 Page 2016 SCREEN PRODUCERS IRELAND Policy on Fair Regulation of Broadcasters Screen Producers Ireland is the national representative organisation of independent

More information

DOCUMENTARY POLICY ENVIRONMENTAL SCAN. Communications Médias inc.

DOCUMENTARY POLICY ENVIRONMENTAL SCAN. Communications Médias inc. DOCUMENTARY POLICY ENVIRONMENTAL SCAN 2 DOCUMENTARY POLICY ENVIRONMENTAL SCAN INTRODUCTION Table of Contents VOLUME OF DOCUMENTARY PRODUCTION FINANCIAL STRUCTURES Sources of Financing Trends in Average

More information

Europa Distribution Answer to the Consultation on Sate Aids September

Europa Distribution Answer to the Consultation on Sate Aids September Europa Distribution Answer to the Consultation on Sate Aids September 30 2011 Who are we? Europa Distribution is a professional European network of independent distributors headed by award winning filmdirector

More information

RESULT-BASED STATUS REPORT

RESULT-BASED STATUS REPORT RESULT-BASED STATUS REPORT IMPLEMENTATION OF SECTION 41 OF THE OFFICIAL LANGUAGES ACT For the fiscal year 2006 2007 May 31, 2007 Table of contents 1.0 General information...1 2.0 Summary of main results

More information

THE NEED FOR LEGALITY

THE NEED FOR LEGALITY THE NEED FOR LEGALITY A STATEMENT from FERA GENERAL ASSEMBLY London September 29 TH 2013 The Federation of European Film Directors (FERA) held its Annual Assembly on September 27 th - 29 th at the British

More information

Guidelines for using Which? Best Buy logos July 2014

Guidelines for using Which? Best Buy logos July 2014 Guidelines for using Which? Best Buy logos July 2014 Best Buy logo regulations 02 Foreword Thank you for purchasing a Which? Best Buy licence. Which? was started more than 56 years ago by a volunteer group

More information

Ensure Changes to the Communications Act Protect Broadcast Viewers

Ensure Changes to the Communications Act Protect Broadcast Viewers Ensure Changes to the Communications Act Protect Broadcast Viewers The Senate Commerce Committee and the House Energy and Commerce Committee have indicated an interest in updating the country s communications

More information

31st Voorburg Group Meeting Croatia September, 2016 Mini-presentation

31st Voorburg Group Meeting Croatia September, 2016 Mini-presentation 31st Voorburg Group Meeting Croatia September, 2016 Mini-presentation CPA 59 Motion picture, video and television programme production, sound recording and music publishing services Presenter Rohan Draper

More information

ENTERTAINMENT LAW 101 A Crash Course on Legal Issues Arising in the Animation Industry

ENTERTAINMENT LAW 101 A Crash Course on Legal Issues Arising in the Animation Industry ENTERTAINMENT LAW 101 A Crash Course on Legal Issues Arising in the Animation Industry Friday, March 4, 2011 Paul Chodirker and Bob Tarantino, Heenan Blaikie LLP 1 Agenda Introduction Pre-production (chain-of-title,

More information

The Impact of Media Censorship: Evidence from a Field Experiment in China

The Impact of Media Censorship: Evidence from a Field Experiment in China The Impact of Media Censorship: Evidence from a Field Experiment in China Yuyu Chen David Y. Yang January 22, 2018 Yuyu Chen David Y. Yang The Impact of Media Censorship: Evidence from a Field Experiment

More information

EUROPEAN COMMISSION. Brussels, C(2010)3916 final

EUROPEAN COMMISSION. Brussels, C(2010)3916 final EUROPEAN COMMISSION Brussels, 23.06.2010 C(2010)3916 final PUBLIC VERSION WORKING LANGUAGE This document is made available for information purposes only. Subject: State aid N 719/2009 Fonds destiné à certains

More information

The employment intensity of film and television production in Canada

The employment intensity of film and television production in Canada The employment intensity of film and television production in Canada July 2011 Prepared for Wit Writers Guild of Canada ACTRA Prepared by Nordicity Highlights Each dollar of ten point Canadian TV production

More information

Profile 2012 An Economic Report on the Screen-based Production Industry in Canada

Profile 2012 An Economic Report on the Screen-based Production Industry in Canada Profile 212 An Economic Report on the Screen-based Production Industry in Canada c2 Profile 212 Produced by the CMPA and the APFTQ, in conjunction with the Department of Canadian Heritage. Production facts

More information

Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC 20554

Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC 20554 Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC 20554 In the Matter of Wireless Microphones Proceeding Revisions to Rules Authorizing the Operation of WT Docket No. 08-166 Low Power Auxiliary

More information

The Great Beauty: Public Subsidies in the Italian Movie Industry

The Great Beauty: Public Subsidies in the Italian Movie Industry The Great Beauty: Public Subsidies in the Italian Movie Industry G. Meloni, D. Paolini,M.Pulina April 20, 2015 Abstract The aim of this paper to examine the impact of public subsidies on the Italian movie

More information

FILM, TV & GAMES CONFERENCE 2015

FILM, TV & GAMES CONFERENCE 2015 FILM, TV & GAMES CONFERENCE 2015 Sponsored by April 2015 at The Royal Institution Session 5: Movie Market Update Ben Keen, Chief Analyst & VP, Media, IHS This report summarises a session that took place

More information

EUROPEAN COMMISSION Directorate-General for Communications Networks, Content and Technology

EUROPEAN COMMISSION Directorate-General for Communications Networks, Content and Technology EUROPEAN COMMISSION Directorate-General for Communications Networks, Content and Technology Media and Data Converging Media and Content Questionnaire on the implementation of the Recommendation 1 of the

More information

RESULTS-BASED ACTION REPORT IMPLEMENTATION OF SECTION 41 OF THE OFFICIAL LANGUAGES ACT

RESULTS-BASED ACTION REPORT IMPLEMENTATION OF SECTION 41 OF THE OFFICIAL LANGUAGES ACT RESULTS-BASED ACTION REPORT IMPLEMENTATION OF SECTION 41 OF THE OFFICIAL LANGUAGES ACT 2007 2008 General Information Federal institution: Address: Website: Minister responsible: Senior official(s) responsible

More information

OECD COMMUNICATIONS OUTLOOK 2001 Broadcasting Section

OECD COMMUNICATIONS OUTLOOK 2001 Broadcasting Section OECD COMMUNICATIONS OUTLOOK 2001 Broadcasting Section Country: NEW ZEALAND Date completed: 1 September 2000 Broadcasting s available BROADCASTING 1. Please provide details of the broadcasting and cable

More information

Radio Spectrum the EBU Q&A

Radio Spectrum the EBU Q&A 1 Radio Spectrum the EBU Q&A What is spectrum and what is it used for? Spectrum or radio spectrum is the range of electromagnetic radio frequencies used to transmit signals wirelessly. Radio frequencies

More information

The social and cultural purposes of television today.

The social and cultural purposes of television today. Equity response to Public Service Television for the 21st Century A Public Inquiry Equity is the UK based union representing over 39,000 creative workers. Our membership includes actors and other performers

More information

Digital Television Transition in US

Digital Television Transition in US 2010/TEL41/LSG/RR/008 Session 2 Digital Television Transition in US Purpose: Information Submitted by: United States Regulatory Roundtable Chinese Taipei 7 May 2010 Digital Television Transition in the

More information

BBC Television Services Review

BBC Television Services Review BBC Television Services Review Quantitative audience research assessing BBC One, BBC Two and BBC Four s delivery of the BBC s Public Purposes Prepared for: November 2010 Prepared by: Trevor Vagg and Sara

More information

Channel 4 response to DMOL s consultation on proposed changes to the Logical Channel Number (LCN) list

Channel 4 response to DMOL s consultation on proposed changes to the Logical Channel Number (LCN) list Channel 4 response to DMOL s consultation on proposed changes to the Logical Channel Number (LCN) list Channel 4 welcomes the opportunity to respond to DMOL s consultation on proposed changes to the DTT

More information

Westmount Secondary School Think Tank Policy Proposal

Westmount Secondary School Think Tank Policy Proposal Westmount Secondary School Think Tank Policy Proposal 2017-2018 Topic: in Film Authors: Lauren Adams Summary: With the constant exposure to American films in theatres around the country, various ways to

More information

Institute of Philosophy, Leiden University, Online publication date: 10 June 2010 PLEASE SCROLL DOWN FOR ARTICLE

Institute of Philosophy, Leiden University, Online publication date: 10 June 2010 PLEASE SCROLL DOWN FOR ARTICLE This article was downloaded by: [ETH-Bibliothek] On: 12 July 2010 Access details: Access Details: [subscription number 788716161] Publisher Routledge Informa Ltd Registered in England and Wales Registered

More information

Chapter 18: Public investment in film in the UK

Chapter 18: Public investment in film in the UK Chapter 18: Public investment in film in the UK The UK Government provides financial support to film in the UK through a variety of channels. Additional funding comes from the European Union. This chapter

More information

Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C

Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 In the Matter of: ) ) Over-The-Air Broadcast Television Viewers ) MB Docket No. 04-210 To the Media Bureau COMMENTS OF THE MINORITY MEDIA

More information

BBC Trust Review of the BBC s Speech Radio Services

BBC Trust Review of the BBC s Speech Radio Services BBC Trust Review of the BBC s Speech Radio Services Research Report February 2015 March 2015 A report by ICM on behalf of the BBC Trust Creston House, 10 Great Pulteney Street, London W1F 9NB enquiries@icmunlimited.com

More information

Inflation rate: +1.3 (prognosis 2012); +1.8 (prognosis 2011); +1.5 (2010); +0.1 (2009)

Inflation rate: +1.3 (prognosis 2012); +1.8 (prognosis 2011); +1.5 (2010); +0.1 (2009) FRANCE Economic data Area: 543,965 sq km Population: 65 million (January 2011) GDP per capita: 29,738 (2010); 29,652 (2009); 30,326 (2008) Inflation rate: +1.3 (prognosis 2012); +1.8 (prognosis 2011);

More information

Broadcasting Decision CRTC

Broadcasting Decision CRTC Broadcasting Decision CRTC 2018-307 PDF version References: 2017-365, 2017-365-1 and 2017-365-2 Ottawa, 23 August 2018 Vues & Voix Across Canada Public record for this application: 2017-0643-3 Public hearing

More information

THE STATE OF BRITAIN S ORCHESTRAS IN 2016

THE STATE OF BRITAIN S ORCHESTRAS IN 2016 THE STATE OF BRITAIN S ORCHESTRAS IN 2016 SUMMARY This survey provides an update on key statistics for the orchestra sector in 2016. The orchestras surveyed represent 84% of the Association of British

More information

Toronto Alliance for the Performing Arts

Toronto Alliance for the Performing Arts 79195 Covers 1/22/08 3:04 PM Page 1 A Presentation to the Toronto Alliance for the Performing Arts Members Survey December 2007 79195 InsidePages 1/22/08 7:21 PM Page 1 Table of Contents Introduction and

More information

Written by İlay Yılmaz and Gönenç Gürkaynak, ELIG, Attorneys-at-Law

Written by İlay Yılmaz and Gönenç Gürkaynak, ELIG, Attorneys-at-Law TURKEY Written by İlay Yılmaz and Gönenç Gürkaynak, ELIG, Attorneys-at-Law Lately, changes to the law on broadcasting, adopted in March 2011, have unsettled the broadcasting sector. This relatively recent

More information