Platforms for the distribution of film and TV content are endlessly multiplying and changing in nature. In parallel, the application of copyright rules attached to audiovisual works and their exploitation along the value chain are becoming increasingly complex. Obtaining rights from the rights holders involved in a given project and, in some cases, acquiring licenses for the use of pre-existing works, is an essential aspect of the work of film producers and marks an indispensable preliminary step before they can grant licenses for the exploitation of the work to the various exploitation channels.
“It’s like nothing we have ever seen before,” said Graham Spurling, the owner of Movies @ Cinemas, one of Ireland’s largest cinema chains. “The rule book has been ripped apart. But look, we have got to keep positive. We will see good times again.” He’s not the self-proclaimed World’s Greatest Showman for nothing. Full disclosure, I consider him to be my friend.
For the fifteenth consecutive year, Éclair Theatrical Services is proudly serving as a partner of the Locarno Film Festival and this year’s edition, Locarno 2020 - For the Future of Films.
The European cinema trade group International Union of Cinemas (UNIC) today launched the fourth edition of its Women’s Cinema Leadership Program, a twelve-month mentoring program for women in cinema exhibition.
The European Audiovisual Observatory, part of the Council of Europe in Strasbourg, has completed a mapping exercise to provide a comprehensive picture of the rules defining the nationality of an audiovisual work in Europe. This landmark study was undertaken at the request of the European Commission in collaboration with a group of national experts.
NEC is offering a free four-month extension to its existing NEC projector warranty contracts throughout Europe, the Middle East and Africa.
As movie lovers cope with the challenges of quarantining, entrepreneurs around the world have experimented with an almost endless number of variations of drive-in and pop-up theatres. No one knows if this is a trend that will sustain itself or a fad that will fade away once the pandemic has ended. But I thought it would make sense to get some perspective about what’s involved in that kind of business from the people at Cinemobiel in Belgium, a group of friends who, for the past 20 years, have been presenting movies from a fire truck in towns all across their country. Which is why I spoke, via email, with Simon Verschelde, Cinemobiel’s only fulltime employee.
The International Union of Cinemas, the body representing European cinema trade associations and operators, has today issued the following statement on the current situation with regard to the outbreak of coronavirus/COVID-19:
In 2018, a total of 696 European films were theatrically released in at least one of the 15 non-European markets, a new report shows. This is the largest number of European films released outside Europe in the past five years and represents about nine percent of the total number of European films on release worldwide. European films represented 18 percent of the tracked number of films on release in the 15 non-European sample markets. The European Audiovisual Observatory has released an updated edition of the report entitled The Circulation of European films outside Europe.
The International Union of Cinemas, the body representing European cinema trade associations and operators, has today released its provisional update on admissions and box office revenues across Europe for 2019. While some data remains to be collated and figures for certain territories are based only on initial estimates, the overview provided by UNIC represents the first wide-ranging assessment of the performance of the European cinema sector in 2019. More detailed final data on the performance of each territory will be released in Spring 2020.