CresCine Dossier #4 - October 2023
CRESCINE?Dossier?#4
27th October 2023
Welcome to the 4th?edition of the CresCine dossier!
CRESCINE is?the one-stop shop?for insights into the European Audiovisual Industry.
In this edition:
* Get the first look into the State of European Film Industry skills from the pioneering industry survey in partnership with the European Film Academy.
* Learn more about the upcoming CresCine conference at the Industry@Tallinn & Baltic Event Summit of the Black Nights Film Festival.
* Explore the latest trends in film, media, and broadcast entrepreneurship from the ScreenMe conference.
?*Follow us to Busan for a discussion on collaboration opportunities within the European ecosystem.
Dive in and enjoy the CresCine insights below
1. CRESCINE x European Film Academy survey: a pioneering look into the state of skills in the European industry
2.??CresCine @ Industry x P?FF - Black Nights Film Festival in Tallinn: Our first major event is around the corner!
3. Tallinn University-led ScreenMe conferences: Look back and rewatch!
4. How are small markets performing globally? CresCine at CineFly and the Busan International Film Festival.
1. CRESCINE x European Film Academy: Be to first to see the 10 findings from the pioneering survey
CresCine is taking a deep dive into the European skills landscape and coming back with significant findings: today, our consortium partner European Film Academy is publishing its first big-scale survey!
The Academy conducted a lengthy analysis amongst its 4500+ members all around Europe, and close to 1000 of them responded. What it resulted in was a deep dive into the European film professionals' landscape and an overview of the industry's mood regarding skills, diversity, sustainability, and more. We selected 10 main learnings and takeaways here, and more is now available on the Academy's website!?
Skills uncertainty?
1.) 85% of respondents are keen on developing themselves further but are not well-informed about the possibilities in Europe to broaden their horizons. Most respondents keep themselves updated at festivals, conferences, or workshops (but visit these rarely). EAVE is the best-known training program, followed by ACE Producers, which shows that most of the respondents are producers trained at EAVE and ACE, and the awareness of respondents of other established training and upskilling programs is limited.
Unsafe surroundings?
2.) Only 20% of all respondents feel secure about their position in the industry when it comes to future perspectives or about their financial capacity to stay up-to-date and competitive. 80 % of all respondents do not feel secure within the industry and cannot attend training programs, even if they want to. Only 30% of all respondents indicate they have the financial support to participate in training programs.
Diversity & inclusion
3.) More than 80% of all respondents think that the increase in diversity &??and inclusion within the European film industry is important. Almost 50% of the participating Academy members value the European Film Academy's efforts towards promoting diversity and inclusion in its work. However, 25% think the European Film Academy is doing a very good job in this respect, and the other 75% indicate they don’t know or that work can be improved. Racism and sexism (57%), the need for non-stereotyped storytelling (40%), and easy accessibility to the industry through fair distribution in funding (25%) are seen as the biggest issues in European cinema.
Sustainability
4.) More than 50% of all correspondents consider a transition to a sustainable European film industry important. When it comes to sustainability, the reduction of carbon emissions, fair labor practices/social equity as well as the sustainable sourcing of materials and products are most often mentioned as the most crucial topics.
Gender divide
5.) Almost 60% of all respondents are not in favor of gender-neutral acting awards.
Documentary vs fiction
6.) More than 60% of all respondents wish documentary films to have the possibility to be also considered in the category “European Film of the Year” (instead of only being able to compete in the category “European Documentary”).
The Academy
7.) More than 50% of all respondents would like to engage more with the work of the European Film Academy and participate actively in one of the Academy programs and projects.
8.) 70% of all respondents wish for member chapters to be introduced (e.g., an editor chapter, production designer chapter, screenwriter chapter, etc.). Now, 48% of all members are open to considering the future chapters to decide on the nominations in specific award categories.
9.) More than 50% of all respondents are happy with the Academy VOD Platform but would like to have more time to watch films to feel more entitled and encouraged to participate in voting. The Academy VOD Platform is mostly watched on a laptop or computer by all respondents.
A survey of cinephiles?
10.) More than 50% of all respondents consider themselves a cinephile and watch more than 70 films per year. More than 50% of all respondents watch most of these films on various streaming platforms (mentioned are Netflix, Amazon Prime, MUBI, Disney+, Paramount+, or others). More than 80% of all respondents agree that the European film industry should turn the existence of streaming platforms into its benefit.
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About the European Film Academy
The European Film Academy seeks to support and connect its 4,600 members and celebrates and promotes their work. Its aims are to share knowledge and to educate audiences of all ages about European cinema. Positioning itself as a leading organization and facilitating crucial debates within the industry, the Academy strives to unite everyone who loves European cinema, culminating annually in the Month of European Film and the European Film Awards, by including European film heritage in its portfolio and by expanding its focus on young audiences through the European Film Club.
2. From Greening to Skills and Beyond: Explore the State of Small European Film Markets with CresCine
Come and meet us at our first major event at the Industry @ Tallinn & Baltic event??
How are small European film markets faring? Where does the European industry stand in terms of skills, especially in the realm of innovation? What are the enablers and blockers for the industry’s transformation towards greening and sustainability? How can we contribute and learn from data-driven insights in financing and distribution?
CresCine is a project funded by Horizon Europe, poised to become the future benchmark for insights into the European Film Industry. It was launched at the Marché du Film earlier this year. The project’s objective is to boost the competitiveness and cultural diversity of the European film industry by amalgamating research, technology, and industry power players. This three-year project aims to understand, engage, empower, and ultimately transform European small markets through original research, piloting the results in seven countries - Estonia, Lithuania, Denmark, Ireland, Belgium (Flanders), Croatia, and Portugal.
In partnership with Industry@Tallinn & Baltic Event, CresCine is excited to share the first insights from the 36-month project, including the state of data-driven insights into film financing, initial findings on greening and sustainability impact, the state of Europe’s industry skills, performance, and much more.
Attend the session to gain firsthand access to CresCine’s insights and discover how you can contribute and benefit from this unique project!
15th November 2023 - 5.15 PM to 6.45 PM - Nordic Hotel
The CresCine partners: Lusofona University of Lisbon, FilmBy Aarhus, Aarhus University, Vrije Universitet Brussels, Tallinn University, Storytek, Baltic Film Tech Cluster, European Film Academy
Find more below and add it to your calendar now!
3. Looking back at the latest Tallinn ScreenMe conference!
Engaging around current trends in the Screen Media Industry
In mid-September, CRESCINE valued partner, Tallinn University’s Baltic Film, Media and Arts School (BFM), hosted an international conference moderated by Professor of Media Management and Economics Ulrike Rohn, in Tallinn. It was a remarkable platform to unveil where the future of the screen media industry is, through engaging panel discussions and enlightening keynote presentations! Amongst the many exciting topics: why and how to disrupt the movies and series industry, what experts think about the future of the media industries (VOD platforms, advertising, AI...), and the latest trend in entrepreneurship in the media industry.?
The event put together an outstanding lineup of speakers, representing a very high diversity of backgrounds: accomplished CEOs, leading-edge scientists at the forefront of media research, and influential policymakers... They provided a global perspective from various countries, among which the United States, Belgium, Ireland, Sweden, Denmark, Norway, and, of course, Estonia. Several partners of CresCine, such as Aarhus University (Denmark), Vrije Universiteit Brussels (Belgium), Storytek (Estonia), and Munster Technological University (Ireland), actively participated in this event, joining forces to add to its depth and significance! Immerse yourself in this remarkable event and gain further insights by watching the videos on replay:?
4. How are small markets performing globally? CresCine at CineFly and the Busan International Film Festival
How do small European film markets maintain global competitiveness? What recent trends and technologies from Asia are shaping the ecosystem? What opportunities exist for European innovators and markets to engage with the leading South Korean film and entertainment industry?
In early October, Sten-Kristian Saluveer, CEO of Storytek and industry liaison for CresCine, led a mission to Asia's premier film market, the Asian Content and Film Market, held at the renowned Busan International Film Festival.
Sten moderated a main stage session discussing collaboration opportunities within the European ecosystem at the innovative CineFly summit of Busan city powered FlyAsia innovation summit. He joined forces with executives from consortium partner Marché du Film - Festival de Cannes, and the Tallifornia Film Fund. Additionally, he delved into the influence of AI on the global film industry alongside industry visionaries such as Sander Saar and Anna Bulkah from Ukraine's celebrated synthetic voice pioneer, Respeecher, as well as Stacia Pfeiffer, virtual production supervisor and CEO of the immersive creative studio, Chaos Incarnate.
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