European industry's share of global market falls between 2009 and 2013. The European Audiovisual Observatory has published its latest “Yearbook: Television, cinema, video and on-demand audiovisual services - the pan-European picture”. A few significant findings emerge from the information published: 1) the share of the European industry on the global market, calculated on the basis of an analysis of the audiovisual turnover (cinema, television, on-demand services, recorded music, video games, specialised retailing) of the 50 leading groups worldwide, fell from 17.1% in 2009 to 12.5% in 2013, whereas the share of the groups established in the United States rose from 57.7% to 66.4%; 2) the revenues of the public service broadcasters in the European Union fell from €33.4 billion in 2009 to €32.6 billion in 2012; 3) the turnover of the 19 main European commercial television groups for continued operations rose by 1% in 2013. The groups that derive the bulk of their revenues from pay-TV posted growth of 1.5%, whereas the revenues of the groups mainly financed by advertising remained stable (-0.1%); 4) in 2013, the pay-TV sector had 7,898 operators in 37 European countries, which was a significant reduction on numbers compared with 2009 (8,381, or -5.8%). The reduction was particularly marked in the cable sector and in the case of mobile TV operators. By contrast, the number of satellite platform operators rose from 73 to 80 and that of pay-DDT platform operators from 25 to 33, while the number of IPTV platform operators on DSL networks rose from 127 to 181, thus illustrating the growing role of telecommunications operators in the distribution of audiovisual services; 5) an analysis of the programming of fiction (films, TV films, series, animation) by 35 television channels in the United States in 2012 shows that the hourly proportion of European fiction was just 8.2%, including 7% for fiction from co-productions or productions co-financed between European producers and producers from other parts of the world, mainly American. By comparison, the proportion of US fiction in the programming of the sample of European channels consistently exceeds 52%. (IL)