LANGUAGE
Report 2014
Report 2013
Report 2012
Report 2011
Report 2010
Report 2009
Report 2008
fondazione ente dello spettacolo
tertio millennio film fest
cinematografo.it
» Report 2008
Part one - A WORLD IN CONNECTION
A REFERENCE UNIVERSE
Chapter 2 - The enlargement of the sector
Core Business and Total Business
In attempting to overcome these objective difficulties it is, nevertheless, necessary to construct a reliable map of every activity that the national cinema industry expresses and represents today. For three principle reasons.
  • Firstly, because the interaction of the data analyses relative to the purchasing of cinema (objectively more available but certainly not exhaustive) arrived at the point of consolidating an authentic void of information regarding the entire area of the so-called supply side, to the point of rendering it negligible. Thereby, it can be verified that the absence of studies and reflections on the market supply of the cinemaindustry has had, as a consequence, this lasting and, by now, structural shortage of references. It can be noted in passing, furthermore, that if a certain ignorance of the mechanisms upon which the market rests and also of the total activity of the market exists, the responsibility certainly does not lie with the “outside world” nor with those professionally involved (on various fronts: social, economic, political…) with the performing arts, culture, communications, or entertainment be they scholars or researchers as opposed to institutions or the media. Indeed, to a large measure the fault lies with the “inside world” which is the very same cinema industry operators who seem to have never felt the need to make available the instruments necessary for analyzing their sector. Adjusting superficial evaluations and partial information to objective facts demonstrates – fundamentally – how the industry puts aspects of the promotion and development of the product (particularly in terms of sales profile) before the real management contents and strategic values of the market in which they operate, in the end also with an effective confrontation with other sectors of industry, services and artistic activity.
  • In second place because insisting on the analysis of market demand, also and above all from the point of view of those working in the sector, leaves aside a vast archipelago of sector activity which forms an integral part not only of the realization and distribution of the product, but also of the essential profile of financial stability and economic subsistence. Just as for the terrestrial world, also in the world of cinema, you can speak of two hemispheres.


    The revenue from film distribution directed towards the general public – in its various forms – indeed reveals, in relation with the value of the whole sector, a slow and progressive trend towards reduction. This reduction is such that it leads to the estimation of the actual market quote as well below the 50% line. This is the traditional part of the cinema-universe , that constituted by the historical sections of production, distribution and business enterprise. Such sections comprise the heart of what is meant by “specific sector”. However, the other part of the proceeds, that which the keeps film industry alive, emerge from new and differentiated product developments, in which new sectors become the protagonists. Subsidiary and complementary, but by now, vital sectors now from a part of what can be called (according to conventional economics literature) the “large sector”.

The construction of a reference universe, moreover, presents particular difficulties due to the lack of official data, similarly there does not exist a detailed, up to date census or even a  complete and reliable database. Such information is essential given that at the quantitative level it conditions and determines any in depth examination, even in qualitative terms, of the market supply of the sector considered as a whole.
Within an economic profile the individuation of assets and economic parameters and considerations of the market as a form of consumption and reflection of lifestyle, subject to the flow of income and financial trends, allows us to evaluate the effective trends within the cinema sector in real time and with respect to the national situation, to the economy in general, to public spending power and to consumer preferences and, therefore, primarily in relation to the tendencies expressed (in terms of competition or even of superimposition) by other productive areas.

 

Copyright © Fondazione Ente dello Spettacolo / P.Iva 09273491002 - Soluzioni software e Ideazione grafica a cura di