At a time of economic upturn and as new platforms take their place in the creative ecosystem, the European audiovisual industry is faced with new challenges. Production companies and their catalogue of works, cinemas, historical national distributors and video game studios are all strategic cultural assets at the heart of European creation. They represent the European identity for the audiences of the Member States. These assets are liable to be the target of predatory acquisitions by companies outside the EU that may not have the same cultural objective and may therefore undermine their value. Does the current legislation guard against such a risk? Over time, how can these strategic cultural assets be protected?
Defining European works is essential to preserving the uniqueness, diversity and heritage value of European creation. In a post-Brexit context, is there a need to revisit this definition in order to facilitate the circulation of works throughout the European Union.
The European audiovisual industry must also continue the work already begun by the Commission, governments and national funds for films, in terms of the environment, gender equality and combatting all forms of violence and discrimination.
Lastly, to see these initiatives through, the assessment of the Audiovisual Media Services Directive and prospects for its implementation must also be examined. This Directive has served to strengthen the obligations to contribute financially to audiovisual and film production by including new stakeholders. Should further steps be taken and Member States be given new tools?
All of these questions will be addressed during the Audiovisual and Cinema Conference that will be held online, in partnership with the Angers European First Film Festival (Festival Premiers Plans), on Tuesday, 25 January.
Discussions from the day will inform the work of the French Presidency of the Council of the European Union.