[bilingual edition ENG / FRE] Focus 2022: an anniversary issue! "This FOCUS marks a double anniversary for the European Audiovisual Observatory: this year we celebrate the 25th edition of this publication and also the 30th anniversary of the Observatory itself. The fact that FOCUS goes back 25 years in our history proves that the film market is of crucial importance to our work! In 25 years, we have constantly expanded our film-related expertise and services, and in parallel the scope of our data collection. This was only possible due to our invaluable networks, especially the EFARN, which therefore deserves our sincere thanks on the occasion of these anniversaries. The FOCUS report, however, would not have developed as it did without the vision of our partner, the Marché du Film and in particular Jérôme Paillard, its longstanding Executive Director, whom we will always link to this publication even after his imminent retirement. Thank you Jérôme for all these years of wonderfully easy cooperation! We are looking forward to continuing our work with your successor Guillaume Esmiol and the exceptional staff that he “inherits” from you." Susanne Nikoltchev, Executive Director of the European Audiovisual Observatory

This FOCUS marks a double anniversary for the European Audiovisual Observatory, as this year we celebrate the 25th edition of this publication and the 30th anniversary of the Observatory itself. The fact that FOCUS goes back 25 years in our history testifies to the crucial place of the film market in our work! In 25 years, we have not ceased to expand our expertise and our services in the field of cinema and, at the same time, the field of collection of relevant data. would not have been possible without our precious networks, in particular EFARN, which deserves our sincere thanks on the occasion of these two anniversaries. The FOCUS report would certainly not have been able to develop as it has without the vision of our partner, the Marchâ du Film, and in particular of Jârãme Paillard, its longtime managing director, whom we will always associate with this publication, even after his imminent retirement. Many thanks, Jârãme, for all these years of wonderfully fluid collaboration! We look forward to continuing our work with his successor, Guillaume Esmiol, and the formidable team of collaborators from whom he "inherits"

Focus 2023: the annual reference guide for the professionals of the film industry The European Audiovisual Observatory’s Focus – World Film Market Trends publication is a one stop shop handbook on all the trends and tendencies in the global film industry. This easily readable 68-page report gives you key statistics for the global cinema market, EU28 (European Union plus the UK) as well as individual country profiles. If you want to get the cinema admission figures for Spain, the price of a cinema ticket in South Korea or the top ten films watched in Brazil, then Focus is for you! The European Audiovisual Observatory produces a new Focus report each year in May for the Cannes Marché du Film. It is distributed to all Film Market participants as a must-have information resource. And now you too can get it! This edition carries an Iberian breeze because it comes in the year of the Observatory’s Portuguese Presidency and because we brought Spain, the Country of Honour of this year’s Market, to the stage for the launch event.Get Focus 2023 and find out!

Focus 2024: the annual reference guide for the professionals of the film industry The European Audiovisual Observatory’s Focus – World Film Market Trends publication is a one stop shop handbook on all the trends and tendencies in the global film industry. This easily readable 66-page report gives you key statistics for the global cinema market, Europe 28 (European Union plus the UK) as well as individual country profiles. If you want to get the cinema admission figures for Spain, the price of a cinema ticket in South Korea or the top ten films watched in Brazil, then Focus is for you! The European Audiovisual Observatory produces a new Focus report each year in May for the Cannes Marché du Film. It is distributed to all Film Market participants as a must-have information resource. And now you too can get it! What are the latest trends in the global film markets? What films are we watching? Get Focus 2024 and find out!

COVID pandemic causes theatrical markets across Europe to plummet by over 70% in 2020 This 2021 edition of the Focus provides a global overview of a film industry painfully impacted by the COVID-19 crisis. The collapse of cinema exhibition, the growth in the market share of European films, the relative resilience of film production, the continued investments in cinema screens and the contrasts between countries and regions are among the observations that our figures suggest. La pandémie de COVID a fait chuter les marchés du cinéma en Europe de plus de 70 % en 2020 Cette édition 2021 de Focus offre un aperçu global d'une industrie cinématographique douloureusement impactée par la crise du COVID-19. L'effondrement de l'exploitation des salles de cinéma, la croissance de la part de marché des films européens, la relative résilience de la production cinématographique, la poursuite des investissements continus dans les écrans de cinéma et les contrastes entre pays et régions sont parmi les constats indiqués par nos données.

Already in its 23th edition the FOCUS is commissioned from the European Audiovisual Observatory by the film market organiser at the Cannes Film Festival, the Marchâ du Film. The FOCUS presents the latest trends on all the major film markets around the world regarding film production and distribution as well as admissions. Published since 1998 by the Marchâ du film (Cannes, France), FOCUS is edited by the Department for Market Information of the European Audiovisual Observatory

The book offers an interdisciplinary overview of the film and place relationship from an intercultural perspective. It explores the complex domain of place and space in cinema and the film industry's role in establishing cultural connections and economic cooperation between India and Europe. With contributions from leading international scholars, various case studies scrutinise European and Indian contexts, exploring both the established and emerging locations. The book extends the dominantly Britain-oriented focus on India’s cinema presence in Europe to European countries such as Italy, Switzerland, Poland, Slovenia, Finland, and Sweden, where the Indian film industry progressively expands its presence. The chapters of this book look at Indian film production in Europe as a cultural bridge between India and Europe, fostering mutual understanding of the culture and society of the two regions. This interdisciplinary book will be of interest to researchers in film studies, cultural anthropology, cultural geography, tourism, economics, sociology, and cultural studies. It will also be interest to practitioners working in local authorities, destination management, tourism, and creative business, all of whom see the value of film production in attracting visitors, investment, and creating new networks with local economic actors. The book offers much-needed data and tools to translate their professional goals and potentials into effective regional strategies and activities.

This updated third edition introduces readers to the business of film at every stage of the filmmaking lifecycle, from planning and production to financing, marketing, and distribution. Celebrated authors Stephen R. Greenwald and Paula Landry offer a practical, hands-on guide to the business aspects of this evolving industry, exploring streaming, development, financing trends, regional/global/online distribution, shifting business models, exhibition, multi-platform delivery, marketing, VR/AR, virtual production, accounting, and more. The book is illustrated throughout with sample financing scenarios and charts/graphics, and includes detailed case studies from projects of different budgets and markets. This new and expanded edition has been updated to reflect the new challenges facing the industry due to Covid-19 and how to navigate the new landscape of film financing and distribution. Other updates include coverage of new indie films and distributors, virtual production, the recent impact of global markets including the biggest streamers like Netflix, Apple and Amazon are how they are shaping the future of the business. This is essential reading for students looking for foundational knowledge of the film industry and guidance on how to successfully adapt to constant changes in the entertainment business. Extensive online support material accompanies the book including downloadable forms and templates, PowerPoint slides, quizzes and test banks, and other additional resources.

This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions from across the continent to explain why viewers are attracted to particular European films, nationalities, and genres, including action-adventures, family films, animations, biopics, period dramas, thrillers, comedies, contemporary drama, and romance. It also examines how these films are financed, produced, and distributed, how they represent Europe and other Europeans, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, Asterix & Obelix: God Save Britannia, and Sammy’s Adventures: A Turtle’s Tale to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, The Girl with the Dragon Tattoo, Intouchables, The Angels’ Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can sometimes improve people’s understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. While some popular European arthouse films explore a wider range of nationalities, social issues, and historical events, these mainly appeal to urban-dwelling graduates. They can also sometimes accentuate tensions between Europeans instead of bringing them together. The book discusses what these findings mean for the European film industry, audiovisual policy, and scholarship on transnational and European cinema. It also considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film.