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» Report 2008
Part Two - ONCE UPON A TIME THERE WAS CELLULOID
WHICH ACTIVITIES AND RESOURCES
Chapter 3 - Regarding Supply
“THERE IS A NEED TO MAKE USEFUL FILMS WHICH PRODUCE PROFITS
Roberto Rossellini, director


In Italy, in the last nine years, 1,706 films have been produced. The average is 120 film titles every twelve months – an expression of the capacity of national production. Generally speaking, the whole sector revolves around such activity. This is because the domestic film studios maintain the other sectors, including that of the raw materials, of the pre and post-production activities and the market in general.  Without national production the very same international groups that distribute their films around the world (the so-called major players: Warner Bros; Universal-Uip; 20th Century Fox; Walt Disney and Sony) would have to face diverse conditions in which to operate, beginning with quota restrictions on the import of their films, as has already occurred in the past and occurs today in other nations. This is due to market laws, which, in various ways (albeit with uncertain results) attempt to avoid the formation of monopolies and to limit that of dominant positions; two situations which put into question the tutelage and protection of cultural identity in every country.



Information source: “Il cinema italiano in numeri” (‘Italian Cinema in Numbers’) (from 2000 to 2008) by ‘Ufficio Studi/Ced Anica (an Italian national association for the cinema, audio-visual and multimedia industries) - * By ‘produced films’ we mean all films that have obtained the motion picture rating in the year referred to and from the calculation films which are explicitly pornographic in nature have been omitted. ‘Italian film’ refers to works made only with Italian capital.

The primary financial resources made available – those that fundamentally instigate the entire economic cycle of the whole sector – are constituted by the investments required to make national films. Such investments are “irreversible”, from the moment that the global production costs are met up until the completion of the film and before any form of income or revenue is made (the majority of economic returns arrive after numerous months, if not years, after the original disbursement) without any practical possibility of disinvestment, second thoughts, or changes of strategy.



Source: “Il cinema italiano in numeri” (from 2002 to 2008) by Ufficio Studi/CED Anica (National Association of Cinema, audio-visual and multimedia industry).

Where do these resources originate? The source of such investments permits a better understanding of the basis upon which the Italian cinema industry is based as well as the centres of interest which determine the structure and organization.

 

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