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fondazione ente dello spettacolo
tertio millennio film fest
» Report 2008
Chapter 6 - Groups and companies: the principle organisations

Michael Douglas, in Wall Street by Oliver Stone

Just as the investigation to give an outline of the Italian film industry on the basis of the activity carried out by the so-called extended sector as well as on that of the specific sector is adequate for defining the economic values of the market according to the supply in contrast to current investigations which only consider demand, similarly the definition of the universe of reference for corporate and professional organizations is instrumental in reconstructing, in outline, the creative sources of those aforementioned values, in other words of who and how much it gives life to the cinema, furnishing content and business, and contributing to determine the cinema industry’s assets, equilibrium and evolution.
It is seen as 1,607 businesses which know how to accumulate a revenue quota equal to 97.2% of all companies and as the major part of that turnover (actually 69.2% as opposed to the indicated 97.2%) is ascribable to just over a tenth (10.6%) of these companies. The first fact is that the sector confirms itself to – and in this it is not an exception – the ‘hands’ of a limited group which is capable of conditioning, with its own trends, the trend in general, thereby exercising, as a consequence, certain controls over the allocation and movement of resources, in this way influencing the total development of the industry and, in particular, as far as the compatibility which opens the market to all operators is concerned, whether they are old or new, or of large or small structure.
In terms of the structure of the productive apparatus the conventional reading of market demand, through the data concerning public attendance of cinemas, therefore, seems to be fully reaffirmed by the conformation with that of market supply, where a selected nucleus of subjects who – as in the rest of Europe and , above all, the rest of the world – view the clear strategic prevalence the ‘majors’ from across the ocean (not only the Atlantic Ocean) and heighten the principle economic forces of the sector.
What remains to be observed is how one can set up, behind such a skyline in which certain imposing skyscrapers are outlined, or configure the rest of the industry territory. That is to identify whether such a panorama, in which box office results and ticket sales prefigure, coincides with that suggested by a more detailed analysis of the general supply activity of cinema production. Furthermore, to see whether those national cinema sector employees who manage, due to their skills and talents, to carve out a space as protagonists genuinely constitute a rare species and the others, of smaller size, a “race” which is almost in extinction and are, as such, to be protected.
The objective of evaluating the collection of companies which together and as a whole define the national film market supply is to qualify the effective vitality at both the aggregate level, for all components of the industry, as well as the specific, individual level and to identify whether this results in a further division of the field of investigation and, in as much as it is possible, to widen our knowledge of the diverse sectors, from those classed as ‘major’ players to those, which are, primarily, independent: a reality which is, as stated, highly divided and little noted, and which, nevertheless, characterizes in a determine fashion the production and diffusion of cinema films in Italy (as well as beyond Italy’s borders).
Such an outline, traced with great difficulty, collecting information and data which is, to say the least, not easily available or easily elaborated on, given the precarious homogeneity, rather than being a point of arrival is rather a point of departure, a type of base camp for further “explorations” and the descriptions presented begin with the individuation of the first actors of the productive scene and from the characteristics which determine the economic physiognomy and corporate policies of the industry.


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