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» Report 2008
Part Four - INTEGRATED AND CONCENTRATED
THE FORCE OF A CLASS
Chapter 6 - Groups and companies: the principle organisations
The Principle Cases of Production
According to the information elaborated by ANICA (Associazione nazionale industrie cinematografiche audiovisive-multimediali, an adherent of Condinfustria) as to the annual production of the national cinema, in Italy in 2007 a total of 120 were made and 141 films in 2008. In the first case, the companies which, on the basis of reported title credits, have produced the 120 films distributed on the market amount to 217, however, ignoring cases of multi-production results in an effective number of 141 companies. Among these, 117 include a unique participation in the production of motion pictures shown in cinemas, for which the other 100 “signatures” in the phases of production and financing can be ascribed to only 24 film studios (17.0%), with an average presence for each one equal to 4.16 and a total “coverage” of activity equal to 46.0%. In the following year the brand names affixed to the 141 films which were released in cinemas amounted to 261, corresponding, however, both materially and physically to 165 film studios, of which 137 can count a single credit as opposed to 124 of the other 28 companies (16.9%) with an attendance index of 4.42 films each and a level of coverage of 47.5%.
Apparently elaborated, the reports, in fact, simply demonstrate the limits on activity which distinguish the vast majority of Italian film studios. If the figures of the two years are considered in relation to each other, it can be verified that only 40 companies result as active in both cases and that 26 of these are included, however, with a single annual investment. In practice, of the 306 operators which have put their name to the 261 licensed films of the two year period, only 13.0% can claim a specific continuity in planning and commitment: 8.4% at the minimum level (one title a year) and 4.6% in form and measure, more intensively.
Being so elementary and clear the statistics demonstrate, in practice, the potentiality for supply and the capacity of market presence of the cinema sector within the national production area, furthermore, they indicate the relativity of the levels of incidence of total activity under the Italian flag. The table of the principle film studios expressed, on the basis of 2007 revenue, by the reference sample taken into consideration substantially reproduces the outline. .



Source: elaborated from CERVED data, Infocamere – Business Register and financial statements of the Italian stock exchange for the companies of the quoted groups Rai, Mediaset (Medusa) and Mondo TV -
* The reported data of Filmauro only refer to the activities of production according to the indications contained in the commentary notes on the accounts and, for Medusa Film, it is an estimate based on the communications of the company -
** The annual statements of Filmauro close business on 30th June..

The summary table of data results in the following brief comments.
  • In terms of direct production in Italy it has not been possible to reveal the amount, given how limited it is, offered by the ‘majors’ (Warner Bros., Disney – also under the name Buena Vista – and 20th Century Fox) with the exception of Sony Pictures Television (MGM and United Artists). According to the database of ANICA, however, what does appear as significant, if only in terms of presence, is the contribution supplied as co-producer by Fox International Channels Italy through Sky Italia and Sky Cinema with 30 shared undertakings (15 a year).
  • The predominance of Rai Cinema and Medusa does not appear to be subject to any specific influence. In the two year period 2007-2008, for example, they were the signatories of, according to the ANICA database, 54 (respectively 30 and 28, plus another four with Rai Trade) and 28 (15 and 13) films. An aspect which is similar to both companies is the decision to dedicate themselves, primarily, to production in conjunction with other operators and only acting sporadically as direct producers with the complete assumption of the project and work plan. After them the following can be distinguished: Cattleya and Fandango with nine productions, Bianca Film with six and Istituto Luce, Lucky Red, Rodeo Drive, BIM and Dania with five.
  • In comparison to the total revenue accredited as groups, the data of certain companies such as Filmauro, Fandango and Eagle Pictures can appear very limited, however, on a par with those revealed for IIF and Cattleya – the two other major Italian companies in the sector – the figures only refer to the sole activity of production and acquisition as indicated in the financial statements.
  • On the other hand, the vast majority of companies which operate in both production and distribution present difficulties in defining a clear distinction of the turnover generated by one area as opposed the other. Instead they prefer to offer only maximum indicators, without particular details (in the case of Medusa Film, for example, estimates reported in certain company communications are used as a reference).
  • Cristalli Pictures, formed by Massimo Cristalli, is active on two fronts, having incorporated Lux, founded by Massimo’s father Franco, AB Film founded in 1978 by Angelo Bassi and the more recent Sharada (founded in 2002) by Andrea de Liberato.
  • Strictly speaking, in statistical terms, there should also have appeared in the outline of the productive sector certain companies involved in the activities of audio and video pre-production and post-production, development and printing, video-duplication and electronic filming, this is because the ATECO classification assigns the same code 92.11 to such activities along with cinema film studios as generally understood. It is preferred, however, to consider them, for the sake of homogeneity, as under the category “Industry and Services” (in the last paragraph of this chapter) as a result of the fact that the ATECO classifications do not seem to follow parameters and directions which are totally rigorous. As can be continually seen, the companies inserted into the cinema category, also include a large number of others which are catalogued, on the basis of the social objectives declared in their statutes, into categories and lists which are very different.

 

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