Audiovisual Industry Research Papers - Academia.edu (original) (raw)

New players emerge in the audiovisual industry and offer unprecedented solutions for aggregating and distributing content. New entrants, especially social networks, have been the engines of these changes toward multitasking, multi-screening behaviours. The way of accessing and interacting with content has changed. Over the last three decades, the European Commission has been watching carefully the evolution of the media and content industries with the goal to foster growth and innovation of digital content services in the European Union, while at the same time protecting consumers in a harmonised fashion.The paper contrasts the global trends of the market, the features of the dual EU audiovisual markets with some of the recent proposals of the European Commission in the backdrop of its numerous initiatives of the last decades.

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- Audiovisual Industry, Digital single market

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media indus- tries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media con- tent. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long- term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynam- ics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter- sectoral cooperation, that is, in building cross-innovation systems.

- by Indrek Ibrus
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- Media Innovation, Comparing Media Systems, Baltic Media, Videogame Industry
- by Sebastian Alaniz and +1
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- Comunicación Audiovisual, Industrias Culturales Audiovisuales, Audiovisual Industry

Tra il 2003 e il 2012 solo il 16% dei film europei con una distribuzione è stato diretto da una donna, in Gran Bretagna le donne sono il 13% dei registi, il 20% degli sceneggiatori, il 27% dei produttori, il 18% degli executive, il 17% dei montatori, il 7% dei direttori della fotografia. Questi sono alcuni dati sulle diseguaglianze di genere nel settore audiovisivo. Circa una su sei. Sono dati che richiedono attenzione, approfondimenti, analisi e azioni. Il progetto DEA di cui presentiamo il primo prodotto, si propone di affrontare il tema delle donne nel settore audiovisivo: dalla posizione in Italia rispetto al contesto europeo ed internazionale, all’esperienza delle autrici, ai fattori che ne rallentano o impediscono l’accesso alla parte creativa autoriale e alla produzione audiovisiva, all’evoluzione del percorso professionale, alle aspirazioni, aspettative e motivazioni che stanno alla base della scelta professionale

- by Ilaria Antonella De Pascalis and +1
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- Gender Studies, Feminist Theory, Cinema, Entertainment Industry

ABSTRACT Guadalajara Se analiza el desarrollo reciente de la industria cinematográfica mexicana, dentro del contexto del un proceso de acelerada "globalización". Se encuentra que el cine mexicano está en una fase de contracción (sobre todo en la producción ), de concentración (en una pocas empresas y de transnacionalización. Al final, se presenta de manera comparativa las políticas públicas. Que ha instrumentado Canadá con respecto al sector industrial, mismo que el autor califica de "neoproteccionistas", las cuales son contratadas con el "neoliberalismo a ultranza" del gobierno mexicano.

The first thing this article tries to do is discuss the Estonian audiovisual media and content production system in its entirety – i.e. to look at film, television and interactive audiovisual services as an increasingly integrated system. Secondly, it tries to understand the issues that this convergence process presents to these formerly distinct sub-fields of the audiovisual culture, as well as for the country’s cultural policy makers. Thirdly, it presents an alternative rationale for audiovisual policymaking – reconceptualising the policy in support of an ‘innovation system’. The aim of this policy would be to improve ‘inno- vation coordination’ – to make the system generate more innovative cultural forms and representations, which at the aggregate level would translate into increased cultural diversity. The article assesses the innovation coordination within the Estonian audiovisual media and content production system.

- by Indrek Ibrus
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- Cultural Policy, Media Innovation, Cultural Science, Media Policy

Neste artigo propõe-se uma reflexão sobre o audiovisual na Amazônia, especialmente no Amazonas. Percebe-se que por meio de diferentes gêneros e formatos, os realizadores regionais têm provocado rupturas estéticas em relação à representação da região amazônica e de suas populações. A produção regional ainda é pequena e pouco divulgada, mas demonstra sua potencialidade ao transcender clichês, estereótipos e o subjugo de criação periférica, emergindo no centro de outro contexto.

- by Muiraquitã - Revista de Letras e Humanidades
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- Amazonia, Cinema, Audiovisual Industry

Este artículo expone la pertinencia de
estudiar a las industrias audiovisuales
y a sus políticas públicas de forma
integral. En primer lugar, se establece
el procedimiento de construcción
y el marco jurídico de las políticas
públicas audiovisuales impulsadas
en México durante los últimos veinte
años. En segundo lugar, se presenta
el estado actual de la industria audiovisual
mexicana. En tercera instancia,
se aportan indicadores industriales
proporcionados por el Sistema de Clasificación
Industrial de América del
Norte (scian) para observar la concentración
audiovisual. Finalmente, se
sugieren algunas líneas de trabajo para
reformar las políticas audiovisuales
con el propósito de impulsar y garantizar
la diversidad cultural, la pluralidad
política y la competencia económica. ------ This article addresses the relevance
of the study of the audiovisual industries
and their public policies in
a comprehensive manner. First, it
establishes the procedure for construction
and legal framework of the
audiovisual public policies and how
are driven in Mexico over the past
twenty years. Secondly, it presents the
current state of Mexican audiovisual
industry. In the third instance, offer
industrial indicators provided by The
North American Industry Classification
System (naics) to monitoring audiovisual
concentration. Finally, suggests
some lines of work to reform the
audiovisual public policies with the
aim of promoting and safeguarding
cultural diversity, political pluralism
and economic competition

Pese a deficiencias en el funcionamiento
y a su falta de ambición económica,
la creación del programa Ibermedia ha
sido un punto de inflexión para crear
un espacio audiovisual común para
la región iberoamericana. A través
de un fondo financiero multilateral,
el programa ha intentado estimular
la coproducción de productos para el
cine y la televisión, el montaje inicial
de proyectos cinematográficos, la
distribución de películas dentro del
mercado regional y la formación de
recursos humanos para la industria
audiovisual. Realizar una primera evaluación
de sus primeros años de funcionamiento
(1998-2007), analizar las
opiniones que se han vertido sobre el
mismo, así como realizar una primera
valoración de su impacto en la región
es el objetivo central de este trabajo.
------
The ‘Ibermedia’ program, launched in
1997 on the V Cumbre Iberoamericana
de Jefes de Estado y de Gobierno, has
laid the foundations for future and
effective audiovisual collaboration in
the region, an effort that could have
been much more fruitful had it been
designed with better resources and
more ambitious aims in mind. Today,
a total number of thirteen countries
interact through ‘Ibermedia’, using a
multilateral fund scheme in order to
promote not only co-productions but
also initiatives in sectors such as film
distribution, advertising campaigns
for concrete films or professional
training. This paper will undertake an
assessment of the program’s first functioning
years (1998-2007), analyzing
comments and opinions on ‘Ibermedia’,
as well as making an evaluation
of its impact in the region

- by Sebastian Alaniz
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- Animation, Television, Audiovisual communication, Comunicación Audiovisual
- by Sebastian Alaniz
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- Animation, Television, Audiovisual, Comunicación Audiovisual

Diversidad audiovisual e integración cultural: analizando el programa Ibermedia Pese a deficiencias en el funcionamiento y a su falta de ambición económica, la creación del programa Ibermedia ha sido un punto de inflexión para crear un espacio audiovisual común para la región iberoamericana. A través de un fondo financiero multilateral, el programa ha intentado estimular la coproducción de productos para el cine y la televisión, el montaje inicial de proyectos cinematográficos, la distribución de películas dentro del mercado regional y la formación de recursos humanos para la industria audiovisual. Realizar una primera evaluación de sus primeros años de funcionamiento (1998-2007), analizar las opiniones que se han vertido sobre el mismo, así como realizar una primera valoración de su impacto en la región es el objetivo central de este trabajo. palaBras clave: industria audiovisual, políticas culturales, diversidad cultural, Ibermedia. The 'Ibermedia' program, launched in 1997 on the V Cumbre Iberoamericana de Jefes de Estado y de Gobierno, has laid the foundations for future and effective audiovisual collaboration in the region, an effort that could have been much more fruitful had it been designed with better resources and more ambitious aims in mind. Today, a total number of thirteen countries interact through 'Ibermedia', using a multilateral fund scheme in order to promote not only co-productions but also initiatives in sectors such as film distribution, advertising campaigns for concrete films or professional training. This paper will undertake an assessment of the program's first functioning years (1998-2007), analyzing comments and opinions on 'Ibermedia', as well as making an evaluation of its impact in the region.

1/15 2/15 Nach den hohen Verlusten in den Jahren 2001-2002 hat sich die Situation der Fernsehunternehmen in der Europäischen Union (EUR 25) 2003 und 2004 insgesamt gebessert. Die Einnahmen der Fernsehunternehmen stiegen von 1999 bis 2003 um 10 Milliarden EUR auf 64,5 Milliarden an, was einem durchschnittlichen Jahreswachstum von 4,4 % entspricht. Die Gewinnspanne der Branche kam wieder leicht ins Plus (0,4 % gegenüber -5,7 % 2001 und -3,7 % 2002), jedoch bleibt das Nettodefizit weiterhin signifikant: 2,4 Milliarden EUR gegenüber 4,7 Milliarden 2001 und 3,1 Milliarden 2002. Immer mehr Unternehmen auf dem Markt, aber hohe Zahl von Konkursen und Fusionen Die Europäische Audiovisuelle Informationsstelle hat die Jahresabschlüsse und Bilanzen der Jahre 1999-2003 von fast 550 Fernsehunternehmen analysiert. Die für 2004 vorliegenden Daten reichen zwar für eine Analyse noch nicht aus, aber alle Anzeichen bestätigen die finanzielle Erholung der Branche.

This chapter concludes the section on cross-innovation practices between audiovisual (AV) media industries and the health care sector. It suggests that the main case studies discussed in this section Estonia in general and Aarhus Region in Denmark tell of two different trajectories on how the emergence of cross-innovation systems can be facilitated by policies. Local policymakers in Aarhus have worked systematically to raise awareness and facilitate contacts between AV media and other sectors and this has resulted in an active start-up scene at the intersection between the media and the health care industries. Estonia, which is focusing on traditional cultural policymaking, has not recognised similar dynamics. Yet, Estonia may be still better prepared for the (global) platformisation of e-health services with its national e-governance systems, while Denmark’s health-related e-services remain fragmented and ripe for platformisation by multinationals, potentially undermining local cross-innovation systems.

- by Indrek Ibrus and +1
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- Media Innovation, Media Industries, Creative Industries, Convergence

The chapter concludes the section on cross-innovation and convergence processes between audiovisual media industries and the education sector. It addresses, first, that these processes are not driven by any specific technol- ogy, but by two broad and interdependent processes individualisation that makes people in insecure careers search for personalised learning opportunities and the experience economy that produces expectations for learning experiences to be pleasurable and fun, that is, gamified. The chap- ter demonstrates the emergence of EdTech as a new dialogic subsector oper- ating between the publicly operating education sector and the private media and information and communication technology industries. It demonstrates the inherent institutional diversity in and around this subsector and discusses the nature of the dialogues constituting it. It, lastly, addresses the risks deriving from global platformisation to the education sector and demonstrates how Estonia’s governme...

- by Silja Lassur
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- Educational Technology, Media Innovation, Augmented Reality, Media Industries

Državne potpore za proizvodnju audiovizualnih djela uvedene su u hrvatski pravni sustav 2012, s ciljem poticanja ulaganja u filmsko stvaralaštvo i ostvarenja kulturnih i gospodarskih pozitivnih učinaka. Državne potpore pod nadzorom su Europske unije te su hrvatski propisi usklađeni s europskim pravilima. Hrvatski se sustav temelji na povratu dijela uloženih sredstava subjektima koji proizvode audiovizualna djela, čime Hrvatska postaje, uz svoje prirodne i kulturne znamenitosti, i u financijskom smislu atraktivna lokacija za snimanje audiovizualnih djela. Europska pravila o poticanju filmskog stvaralaštva proširila su opseg djelatnosti za koje je moguće odobriti državne potpore, uvela su mogućnost potpora za prekogranične produkcije i promoviranje filmskog naslijeđa te proširila opseg državnih potpora za sve faze stvaranja audiovizualnog djela.

- by Irena Klemencic
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- Croatia, State aid, Film funding schemes, EU State Aid Law