1 / 17

The Audiovisual Sector as an Example

Thomas Heskia The Impact of Culture on Social Development and General Well-Being: Is it quantifiable?. The Audiovisual Sector as an Example. Approaches to Measure Culture in Relation to Well-being. What is being produced (inputs) GDP contribution Employment Industrial classification

brita
Télécharger la présentation

The Audiovisual Sector as an Example

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Thomas HeskiaThe Impact of Culture on Social Developmentand General Well-Being: Is it quantifiable? The Audiovisual Sector as an Example

  2. Approaches to Measure Culture in Relation to Well-being • What is being produced (inputs) • GDP contribution • Employment • Industrial classification • What is being consumed (output) • What is perceived (outcome) Approach of happiness research concentrates on the perceived well-being of individuals.

  3. The World of Television Television as a central cultural instance in the last decades Decreasing importance because of media convergence and non linear services • US Dominance of corporate media • „Networks“ • Public service Broadcasting as a non competing additional offer • Europe Dual system of private and public service TV • Tradition of PSB as a democratic institution • Strong private production • Co-finances cinema production

  4. The Bipolar Field of Film Production • Hollywood (MGM, Warner Bros. etc.) Privately financed • Worldwide Distribution • Reciprocal adaption of consumer choices • Up to 85% market share in Western Europe • European production • Small domestic markets, difficult distribution abroad • production costs do not find recoupment in the market Dependent on public subsidies

  5. Well-Being Measured on Actual Consumption (TV) Possible measurable indicators • Entertainment • Violence +/- • Comedy • Drama • Education • Information • Contribution to the political/social discourse • Cultural distinction (% of local content) • Cultural diversity (% of „diverse“ content) • Advertisement (-?) - TWF guideline

  6. Choice as an Indicator for Well-being Well-being through the availability of choice Sen‘s capabilty approach • Oversupply does not improve well-being • Preselection • Choice for high social impact programmes possible • Role of Public Broadcasting Services (BBC approach) Cultural socialisation and education as complementary

  7. Public Sector Intervention • Regulation • Frequencies (market accessibility, criteria, community programmes) • Technical standards • Advertisement (TWF-Guidelines) • Public Service Broadcasting • Public film funding (EUR 2,3 bill. in Europe) • TV programme funding

  8. European film production • Small Budgets (1,5 Mio – max. 10 Mio € / feature film) • Cost disease • Small domestic markets (1-80 Mio.) • Small market shares (10%-40%) • Market barriers make it difficult to cross borders • Language • Other cultural factors • Distribution structures

  9. Film as Cultural AND (?) Commercial good • Film as art of ist own („7th art“) • Contribution to cultural diversity For that • Justification for public funding • Film funding as a permitted state aid under the exception culturelle but • High share of non creative work (on the set, postproduction, processing laboratories) • Contribution to regional economic development

  10. European Film Finance • Own investment of the producer (often below 10%) • Broadcasters (pre-sales, licenses, subsidies) • Direct subsidies (national, regional, European, cultural funds) • Indirect subsidies through tax incentives Growing budgets lead to an ever growing share of international (i.e. inter-European) co-productions + advantage of a 2nd home market! Statistics available by the European Audiovisual obeservatory (COE)

  11. Benefits • National/Regional Culture/s • Cultural diversity • Social benefits • Economic Impact

  12. Economic Impact of Film Subsidies • Regional effects: • Supposed multiplier • No inputs deducted • Employment; • Sector grows and shrinks with the amount of public subsidies

  13. Cultural Impact Selection of projects by • Juries • Commissioning editors • Success driven mechanisms (reference money) Justifications often not revealed. • No ordinal measurements • No cardinal measurements

  14. Script Analysis Approach • Project selection by evaluating different aspects of a project excellent good fair ........... Plot      Characters      Dialogues      ..... (overall)

  15. Script Analysis Approach transfered Analogue to general values excellent good fair ........... Artistic value      Entertainment      Social      Political ......... (overall)

  16. Problems • Input oriented approach • Comparability • Has little impact on audience • Little actual consumption? But: Wider impact than cosumption as there is often a contribution to the discourse in society

  17. Combined Measurement • Evaluation of consumer habits • Evaluation of consumer satisfaction • Evaluation of the Public Service broadcasting services • Availability and accessibility of high quality programmes • Impact of domestic high quality programmes Strenghtening the democratic institutions (Frey/Stutzer)

More Related