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Report 2013

Part I – The institutional policy

Part II – The market of offer

Part III – The resources of the sector

Part IV – Public intervention

Part V - The market of demand

Part VI – The production system

Part VII - The labour market

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SPECIAL CONTENTS

FILM COMMISSION

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» Report 2013
Part I – The institutional policy
Chapter 1 – National Cinema Conference
Origin of the National Cinema Conference

The committee

During the Cannes film festival of May 2013, Massimo Bray, Minister of Cultural Heritage, Activities and Tourism, announced that he would call the "National Cinema Conference", thus showing great attention towards the film sector and particular sensitivity to the need to reform the regulatory framework that governs the public support, in view of the changed scene and business models.
The purpose was to identify the strategies that could lead to operational proposals, favouring the quantitative and qualitative strengthening of the sector. Aware that in order to start an innovation path corresponding to the common interest it was necessary to involve all stakeholders, the Minister appointed a committee of experts from the different segment of the industry, from the institutions and the academic world that have the task of conceiving the form and content of the event that was supposed to gather all the subjects involved in different ways.
The committee, coordinated by the General Director for Cinema Nicola Borrelli, is made up of: Roberto Andò (film director); Stefano Balassone (Professor of Communication Studies and blogger); Angelo Barbagallo (President of the producers section of ANICA, the National Association of Film, Audiovisual and Multimedia Industries); Martha Capello (President of AGCPI, the Asociation of young independent film producers); Lionello Cerri (President of ANEC, National Association of Film Exhibitors), Francesca Cima (producer, Indigo Film); Gianluca Farinelli (Director of Bologna film archive); Mario La Torre (Professor of Economics of financial intermediaries – University La Sapienza of Rome); Daniele Luchetti (film director); Nicola Lusuardi (100autori – Association for authors of cinema and television); Silvio Maselli (former President of Italian Film Commissions); Andrea Occhipinti (producer and distributor, Lucky Red); Roberto Perpignani (President of FIDAC, the Italian federation of professional cinema and television associations); Gabriella Pescucci (costume designer); Costanza Quatriglio (film director and scriptwriter); Stefano Rulli (President of the Experimental Film Centre); Barbara Salabè (President of Warner Bros. Italia); Riccardo Tozzi (President of ANICA).
In June 2013 the committee started to gather at the General Directorate for Cinema – MiBACT through a series of meetings during which the critical areas were identified and the formula of the event was outlined. The event was called "National Cinema Conference".
The first stage of the committee’s work took place on 2 September 2013, during the Venice International Film Festival, with the conference The future of cinema: from being a "supported" sector to becoming a strategic cultural industry. After the stabilization of the tax credit and towards the National Conference, organized by DG Cinema – MiBACT along with Istituto Luce-Cinecittà, ANICA and Biennale di Venezia. The speakers were the representatives of the main associations, whose contributions are available on the link http://www.cinema.beniculturali.it/conferenza-nazionale-cinema-documentazione.aspx.

Conference structure: roundtable discussion and public conference

The National Cinema Conference took place two months later, in November 2013, with a two-day event. The formula chosen by the committee included two sessions. The first, on 5 November 2013, was an open discussion between all stakeholders and developed around three different discussion tables that aimed at generating constructive ideas and proposals among the participants and at gathering and arranging them in homogeneous areas. The second session took place four years later, on 9 November 2013, with a public presentation of the results achieved on 5 November to the Minister.
To prepare the first day of discussion an online space was created, hosted on the website of the DG Cinema, in which the three main themes that animated the three discussion tables of 5 November were announced:
http://www.cinema.beniculturali.it/conferenza-nazionale-cinema.aspx.
The theme of Table 1 was «CINEMA: CULTURAL INDUSTRY» and the discussion developed around the following questions: What makes the sector an industry? Which are the features of a cultural industry? What is the position of Europe as regards this double function? Which editorial strategies can enhance the product?
Table 2, entitled «STRUCTURE, MARKET OPERATORS AND NEW MODELS OF DISTRIBUTION AND CONSUMPTION», discussed topics such as: are the current market dynamics suitable for the cultural, creative and economic development of the sector? What are the dynamics in the supply and demand, the critical point of the industry and chain of value creation? Table 3, finally, set the goal of gathering the theme discussed on the other tables to analyze them from the political point of view: «PUBLIC POLICIES» that is, the rules, the intervention mechanisms, the funding modalities, the administrative subjects and structures.

Discussion tables of 5 November 2013: open participation

With the intention of including in the debate the largest number of proposals and favouring the contribution of ideas from those who are interested in the discussed issues, the committee decided to allow the active participation to anybody who wanted to give a contribution, provided that their intervention is relevant. On the website dedicated to the National Conference, therefore, a form to participate actively could be found, choosing to answer one of the 18 questions related to the discussed topics (http://www.cinema.beniculturali.it/iscriviti-partecipa.aspx).

The questions were the following:

  • The cinema and the audiovisual industry are weak in Italy. Why? Is it due to economic and industrial reasons, cultural and editorial reasons, or political reasons?
  • On which elements of the production chain and to what extent we should intervene to implement a reform process (editorial processes, production models, trainings, etc.)?
  • Is the plurality of expression and languages, a fundamental characteristic of cultural diversity, well realized in the current range of films and in the subjects that determine it? Is national production differentiated enough? Which is the right intervention to favour a more varied offer?
  • Are there any conditions (regulatory, structural, environmental) that ensure equal opportunities to access the artistic creation?
  • As for the internationalization of the Made in Italy, do films deserve the same attention paid to other excellences of our Country (food, fashion, motors, etc.)? Is it possible/desirable to increase the circulation of Italian films abroad? Is it a problem related to products or marketing? Which could be the strategies to be implemented, in the short and medium term?
  • The current dynamics of the sector, without elements such as the economic crisis, lead towards an evolution (involution) of the system. What will be the characteristics?
  • Is there an overproduction problem in Italy? Or is there a qualitative problem, as too many films do not find (or do not look for) their own audience? Producing less films with more resources or allocating resources to more projects, in the (low-budget) search for new talents?
  • Will the cinema continue to play a "central" role (or better, a "primary" role, also in a chronological sense) in the film exploitation? How could the role of movie theatres evolve, between multiprogramming and "trading up"?
    (Note: the "trading up" is the strategy used by companies to increase the prestige and sales of a product which is already on the market with a low price and low quality with a product with higher price and greater quality).
  • What actions can be taken to attract more foreign investors in addition to the tax measures in force? Competitive prices? Quality of services? What else?
  • What role should be played by broadcasters with regard to film production and distribution? Is it better to oblige or "encourage" certain behaviours? What instruments should be used?
  • In the digital age, what strategies should be adopted to exploit the potential of the Internet (used as distribution and communication channel) and to build up a strong legal "alternative" to the illegal download of films and audiovisual products?
  • What should be the main criteria to measure and evaluate the effective ness of public policies supporting the film and audiovisual industry? The market share of our products compared with other countries, the economic and occupational strengthening of the industry, the turnover rate of companies that have recourse to funds, the minimum number of young people in the crews, the number of viewers and the level of receipts? The level of language innovation or even the presence of contents that can improve and enhance the cultural identity? Or anything else?
  • In the film and audiovisual industry, should public funds mainly support the production (as they currently do) or move the resources to other sectors such as the development, distribution and circulation of works or the promotion (festivals and shows) or even training?
  • In light of the recent amendments to the national law (conversion into Law of the Legislative Decree "Cultural Value" no. 91/2013) which, among other things, extends the tax credit also to independent producers of audiovisual works, what are the opportunities of a single governance for cinema, audiovisual industry and new media?
  • In the UK, a substantial part of resources supporting the cinema comes from national lotteries, in France from the so-called "appropriated tax" (levy on the turnover of companies that exploit contents, from movie theatres to television, home video and telecommunication companies). Are these ways to find resources also exportable to our Country? Besides the existing systems (tax concessions, ordinary funds from general taxation), what are the new or complementary alternatives?
  • Regions are playing an increasing role in supporting the film and audiovisual industry in relation to the intervention at a central level. Is a rationalization to avoid the dispersion of resources necessary? What are the strategies to combine the national and the territorial interventions?
  • What are the most urgent training needs (university studies, specialized training, professional development, training of the administrative bodies, training programs for the audience...) of the system?
  • IstheimportanceoftheroleplayedbyinstitutionsfortheprotectionoftheItalian film heritage sufficiently recognized? What are the margins of improvement and greater efficiency? What is the role of the State and subnational administrative bodies in this regard?

Therefore, the committee decided not to carry out any selection with respect to the answers provided. All those who signed up, only for showing their interest and commitment to reflect on one of the themes, have gained the right to speak during the event. The requests to speak could be submitted until few days before the event, but those who wanted could enrol later and participate as auditors. About 250 people filled in the online form.

Composition of the discussion tables of 5 November 2013

o ensure the special assistance of technicians and experts on particularly complex subjects, speakers were invited for each table and their contribution was managed like that of the people who registered through the online form. The invited speakers were asked to prepare ad hoc reports on the subjects of their specific expertise, and some of these can be found in the documentation section of the web page dedicated to the conference: http://www.cinema.beniculturali.it/conferenza-nazionale-cinema- documentazione.aspx.
Each discussion was led by a couple of moderators (chosen between the members of the committee) with the complicated task of facilitating the development of reasoning through the contributions from many speakers. Then some rapporteur were assigned to the tables with the task of taking note of the discussion and preparing a short report to be presented to the Minister the next days, during the public meeting of November 9.

Here follows the list of the speakers invited, of moderators and rapporteur for each table.

TABLE 1: «CINEMA: CULTURAL INDUSTRY»
Moderators: Nicola Lusuardi (100autori), Riccardo Tozzi (ANICA)
Rapporteur: Francesca Medolago Albani (ANICA), Chiara Fortuna (DG Cinema), Sara Bonetti (DG Cinema)

Speakers invited:

  • Stefano Balassone (Professor of Communication studies and blogger);
  • Paolo Boccardelli (University LUISS Guido Carli);
  • Fabio Del Giudice (Confindustria Cultura Italia);
  • Alessandra Fratini (Studio FratiniVergano);
  • Celestino Spada (Association for Cultural Economics);
  • Giuseppe Viggiano (CNA – National Confederation of Crafts and Small and Medium- Sized Businesses).

TABLE 2: «STRUCTURE, MARKET OPERATORS AND NEW MODELS OF FILM DISTRIBUTION AND ENJOYMENT»
Moderators: Nicola Borrelli (DG Cinema), Francesca Cima (Indigo Film)
Rapporteur: Alberto Pasquale (DG Cinema), Iole Maria Giannattasio (DG Cinema), Silvia Finazzi (DG Cinema)

Speakers invited:

  • Raffaele Barberio (Key4biz);
  • Michele Casula (Ergo Research);
  • Giandomenico Celata (University Roma Tre);
  • Lionello Cerri (ANEC);
  • Piero De Chiara (Telecom – Cubovision);
  • Carlo Degli Esposti (APT – Association of Television Producers);
  • Nicola Giuliano (Indigo film);
  • Fulvio Lucisano (IIF - Italian International Film);
  • Enrico Menduni (Università Roma Tre);
  • Stefano Parisi (Chili TV);
  • Julio Talavera (European Audiovisual Observatory);
  • Gino Zagari (ANEM – National Association of Multiplex Exhibitors).

TABLE 3: «PUBLIC POLICIES»
Moderators: Silvio Maselli (Italian Film Commissions), Maria Giuseppina Troccoli (DG Cinema)
Rapporteur: Federica D’Urso (DG Cinema), Bruno Zambardino (DG Cinema), Eduardo Fiorito (DG Cinema)

Speakers invited:

  • Maja Cappello (AGCo, the Authority for Communication Guarantees);
  • Guido Cerasuolo (APE – Association of Executive Producers);
  • Tilde Corsi (R&C Produzioni);
  • Domenico Dinoia (FICE – Italian Federation of Art Cinema);
  • Mario Gianani (Wildside);
  • Cristina Loglio (AGIS – Italian General Association for Entertainment);
  • Paolo Marzano (Standing Committee on Copyright);
  • Emiliano Morreale (Experimental Film Centre – National Film Archive);
  • Anna Olivucci (Italian Film Commissions);
  • Cristina Scaletti (Commissione Cultura Conferenza delle Regioni);
  • Giovanni Spagnoletti (AFIC – Association of Italian Film Festivals)

On November 5, 2013, at the evocative spaces of the Experimental Film Centre, about 300 registered people, speakers invited and staff met to discuss all the issues on the agenda in a constructive and proactive way. Table 1 was the most in terms of participants who registered on the website with about 100 people, followed by Table 3 with over 80 participants and, finally, Table 2 with more than 50.

Conference of 9 November 2013

In the three days after the Conference, the debate was reported in a concise and well- reasoned way on a document that was submitted to Minister Bray on November 9, during the public conference that was held in the Teatro Studio hall at the Auditorium Parco della Musica during the International Film Festival of Rome.
During the conference, while the images of the discussion tables of November 5 were shown on the screen behind the speakers, the General Director for Cinema, Nicola Borrelli, presented to the Minister Massimo Bray and the audience the main themes and the most urgent proposals that emerged at the tables. The representatives of the main categories of the industry then expressed their ideas and comments.
The summary report presented by Nicola Borrelli was then published on the website dedicated to the Conference, http://www.cinema.beniculturali.it/conferenza-nazionale- cinema-documentazione.aspx.
The following pages widen the contents of this report, examine the topics in depth providing further details and an update on the developments which followed the Conference.

 

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