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» Report 2008
Chapter 7 - The Market Quote
The Nature of the Parameters
The importance of such a subject is attested to by the fact that the hegemony of American multinationals is considered a critical factor in the development of the cinema in numerous other countries, with a favourable position which, in defining spaces  – for example in Europe - on the international market, such hegemony can open up others to a cultural homogeneity of thought and of its forms of expression, and not only in terms of consumption.
The same MPAA – Motion Picture Association of America which represents United States studios illustrates, in its statistics on world cinema, how against almost 3.5 thousand films produced every year and income generated in cinemas amounting to over 26 billion dollars (19.3 billion euro), the (circa) 600 productions from the United States manage to total over 85% of global proceeds. The other 2,900 films, equal to 82% of the total, divide the remaining 12% of global revenue. This involves tell-tale data,  despite being generic (as well as susceptible to a certain perplexity). This results from the fact that the values regarding the numerous and disparate national markets are considerably unaligned and because the box office economic results are consistently under 30% of that which is effectively achieved on all the channels of distribution, home video and television.
Furthermore, the predominance of the American cinema sector, is indubitable. In Italy, the most employed parameter is constituted by the documentation made available by CINETEL, a research centre jointly formed by the organizations of ANICA (Associazione nazionale industrie cinematografiche audiovisive multimediali) and ANEC (Associazione nazionale esercenti cinema), which reveal through a computerized system the attendances and gross takings  of cinema halls during the night, then, the following morning such information relative to each film shown is made available to the associates. It is, in effect, a work instrument which permits the monitoring of real market trends of the sector, allowing timely comparisons of the results taken at the box office of the titles put in the cinema circuit and, moreover, permits the various operators to evaluate the effectiveness of their choices and film scheduling strategies1
The information offered by CINETEL does not regard, for reasons of operational necessity, the totality of cinemas, but a sample of active cinema halls defined as representative of the volume of takings between 80% and 90% of the total sector. In effect, on an annual basis, the paying cinema goers assessed by SIAE (Societa’ italiana autori ed editori) – which proceeds to the legal money refund offers on every single coupon sold in every form of charged show, event or demonstration – are greater than the upper limit of 100 million euro and the gross earnings are greater than the quota of 600 million euro, whilst CINETEL reports that average annual attendance is inferior to around 23 million with less revenue for 110 million.
The statistics of SIAE concern, on the other hand, the totality of subjects and include over 5 thousand cinema screens, that is, also those cinemas which are only used for a single day a year, with a total film scheduling of over 6 thousand titles, calculating also the so-called “continuations” of films released in preceding seasons (long tenures, re-releases, reviews and so on). As an instrument of marketing the reports of CINETEL are effected, instead, concerning screens which are defined as technically and genuinely active, that is, operational for at least 120 days of the year – which, thereby, result in few more than 3.2 thousand, equal to 56.1% of the total – verifying, above all, the release of new distributed titles, the so-called first releases; whereas the SIAE survey, despite being cumulative, is also anonymous, without any regard to takings or attendances at individual film screenings, furthermore, it is of a definitive character only being conducted on a six-monthly basis.2
The situation of Italian cinema according to the screening carried out by CINETEL in relation to the quota of market demand in the latest seasons, is summarised in the following table.

Source of elaboration: the report “Il cinema italiano in numeri” – calender years 2006, 2007, and 2008 – edited by the Ufficio Studi/CED of ANICA (Associazione nazionale industrie cinematografiche audiovisive e multimediali) on data of CINETEL.

Observing the distribution of films put into circulation in terms of national origin and their public results, the predominance of American production clearly emerges: with almost 35% of films distributed and, on average, 60% of cinema tickets sold and total proceeds, whilst that of Italy, with a series of titles not greatly inferior, totals half of the attendances and revenue generated by American films. Other foreign productions cover the remaining 30% (23% Europe, 7% the rest of the world), but with video releases which are even less: 10-11% of viewers and proceeds for continental products and 1-2% for those non European.
It should not be forgotten, nevertheless, that the inferior state of Italian cinema was, until a few seasons ago, still more accentuated and that after a twenty year period characterized by a hard and general market contraction, only in 1997 did Italian cinema return to produce around ninety films a year thereby bringing the quota for the period over 30% in terms of the public (rising totally to 100 million) and of revenue, whilst, with the development of multi-screen cinemas and multiplexes the general cinema structure has began to recuperate the values of ten years prior.
The growth trend has since been consolidated and after a recent, but temporary, regressive decline has given signs of new vitality to the sector, as is indicated by the titles which ANICA has given to its reports on the trends of the period 2007 and 2008 – “Il Rinascimento” (The Rebirth) and “La conferma” (The Confirmation) – obviously referring to the total market rather than being specific to the positive trends in national production. Production which, furthermore, in spite of a perceptible tendency inversion in comparison to previous years, preserves its entrenched structural fragility.

1 CINETEL has recently signed an agreement with an international research group A.C.Nielsen in order to reinforce the management of software of its own computerized system. At the same time the reports of CINETEL will enter into a global database belonging to Nielsen regarding the takings from world cinemas.
2 UA second system of reports into film consumption is carried out by the research institute CRA (Customized Research Analysis) in collaboration with Rai Cinema. It is called ‘Audicinema’ and consists of two complementary reports: Telepanel and Oversample. The former involves a reference sample of 3,500 families with a total of 9 thousand individuals – representative, by demographic characteristics, of the Italian population – who, on  a monthly basis, communicate their range of cinema consumption. The latter is developed, however, through opinion surveys conducted at the entrances of cinemas (with a total of 20 thousand annual interviews) in order to know the opinions and levels of satisfaction regarding the films seen.


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