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DOI: 10.30628/1994-9529-2021-17.2-275-294

GALIYA M. YUSUPOVA
State Institute for Art Studies,
Moscow Art Theatre School,
Moscow, Russia
ResearcherID: AAT-5009-2021
ORCID ID: 0000-0002-1767-8876
e-mail: usupova33@mail.ru

FILM AND TELEVISION: FINANCIAL SUPPORT FACILITIES IN MODERN EUROPE

Abstract. Modern global filmmaking is fed by more than 120 public support mechanisms. Depending on the degree of government involvement in film industry market regulation, the national models in this area may vary. When it comes to European feature films, the producers ride on five main sources: direct government funding, broadcasting investment, producer investment, presales, and tax incentives. The most important here are the first two, which focus 26% and 21% of support, respectively. Most European countries today provide their film industries by investing in the production process directly—through the pre-acquisition and/or co-production of films and television programs, and indirectly, by contributing to their national film funds. Such forms of investment are constantly evolving, since they have already proven themselves to be very effective. Other market players—exhibitors, distributors of audiovisual content and creators of film content on physical media—support national and European film production through compulsory contributions to cinema funds. The emergence and popularity of video-on-demand platforms has boosted broadcasters’ financial commitments. The article also provides information on the technical details of this multi-step process: the author classifies the existing types of broadcasters’ obligations, and analyzes the mechanisms of financial support for film production by television channels.
Keywords: government support for cinema, fiscal incentives, mandatory compulsory contributions, audiovisual sector, obligations for broadcasters, “soft money”, taxes and levies, national film, television industry