Brussels, 09/07/2010 (Agence Europe) - European cinema could fade and die out if it is not given proper aid at all stages in the creative chain from a diversified aid system. This was the message of cinema professionals at a conference on the future of European cinema held in Mons, Belgium, on 5 and 6 July 2010, attended by Fadila Laanan, culture, audiovisual, healthcare and equal opportunities minister for the French-speaking community in Belgium, and some 150 professionals, representatives of EU institutions, politicians and delegates from the member states. Laanan will be chairing the Culture Council, and is planning to pass the message on to her EU counterparts during the debates surrounding the review of the “cinema communication” due at the end of 2012. She said she hoped that the reflection by the professionals would constructively help in the drawing up of the new cinema communication.
The debates and reflection at the conference, examining the EU's Audiovisual Media Services Directive (AVSMD) and the EU's “cinema communication” aiming at a joined-up approach to European cinema, focused on three areas: 1) promoting European films on pay-as-you-go video/DVD platforms (VOD); 2) the need for state aid in all stages of the process of making a film, from creation to distribution; and 3) the coexistence, complementary nature and range of aid systems in the EU. VOD systems are crucial in getting European cinema known around the world and should be given special support by the member states to ensure that European film-makers can find an audience on new DVD-on-demand systems under the EVSMD, which foresees the option of member states introducing special measures to encourage DVD-on-demand, promote the distribution and production of European films and make it easier for people to access European films. On the authorised public aid system for cinema, the “cinema communication” includes guidelines to ensure the aid is compatible with EU state aid rules. The review of the communication will change the guidelines to adjust them to meet the new challenges facing European cinema. Most of the aid granted these days is for the making of films but the professionals says a range of public aid options is required at all the other stages in the film chain from creation to distribution and running cinemas. Only state aid that is carefully adapted to meet the needs of the various links in the chain will ensure the success of European cinema, they argue. The European Commission is not happy about authorising post-production aid from fear of creating an uneven playing field. Laanen said that the contribution of technical industries in the creation of a film is no less important than writing the screenplay. Fears of unfair competition should not prevent public authorities from supporting these crucial links in the chain of creating a film. She said she would be encouraging the interdependence of audiovisual creativity and culture industry creativity during the Belgian Presidency.
There is more to making a film than creating culture because the film-making industry creates jobs and provides considerable value-added to the EU economy. In this connection, the conditions need to be introduced to enable films to be made in Europe, with a wide, diversified range of state aid available in the form of traditional aid (also known as “cultural” aid) and tax incentives and other business incentives. Dealing with both aspects, state aid at all the stages of the creation chain and the distribution of European films, along with the need for an EU approach that is properly suited to the various types of aid system in coexistence today, will enable the 2012 “cinema communication” to match the reality of film-making in Europe and help promote cultural diversity in European films. This is what the Belgian Presidency will be arguing in the next few months. (I.L./transl.fl)