Even though the Hollywood Foreign Press Association, a the small circle of about 90 journalists with a California residency who award the Golden Globe every year, has been the subject of numerous scandals, it now seems that the privileged closed club can no longer legitimize its claim to power. For a long time, attempts had been made to evade movements in the film industry in the context of me too
Even if it is not possible to quantify the total market volume for theatrical films along their value chain based on consumer spending due to a lack of transparency, at least the window of theatrical exploitation, as one of four main market segments, can be more closely defined. A report published recently by the European Audiovisual Observatory reveals a surprising picture and confirms the trend towards a „flood of films“,
As part of the Initiative Zukunft Deutscher Film (Future of German Film initiative), this time the Frankfurt LICHTER Filmfest specifically took a European perspective to discuss central questions around FUTURE OF FILM CULTURE. Moderated by author of the Nostradamus Report and media analyst Johanna Koljonen, the discussion with Carlo Chatrian (Berlinale, Artistic Director), Sonja Heinen (European Film Promotion, CE), Laura Houlgatte (UNIC – International Union of Cinemas, CEO), Alby James
It is exactly half a year that in the light of continuously rising Corona numbers the cinemas beside all cultural institutions in Germany were closed. 2020 not yet affected by the pandemic, the Berlinale had to (including the Berlinale Talents) like the European Film Market among other film festivals of the beginning of the year, including the Sundance Film Festival and the International Film Festival Rotterdam, implement their first online
‘Cinema is not dead and film festivals are receiving an essential role’ is one of the essential statements of media industry expert Olivier Müller in a conversation with the artistic director of the Locarno Film Festival, Giona A. Nazarro. Another perspective in a picture that could not be more ambiguous: While ArcLight Hollywood, one of the top-selling U.S. cinemas of the Pacific Theaters no longer reopens, the world’s second largest
With the recently published study „Attack from Hollywood„, Prof. Dr. Thorsten Hennig-Thurau from the University of Münster, confirms what many had long feared: Streamers are gradually taking over the audiovisual market! The fact that the Corona pandemic is proving an accelerant for conventional television is now being seen not only among the younger target groups, but also among the over-50s, who are becoming increasingly more enthusiastic about digital media consumption.
With the Corona pandemic, streaming platforms have gained millions of new subscribers. Cinemas were forced to close, film festivals to go digital. While cinema allows collective experience of films, streaming offers private enjoyment. How can cinema and streaming programs complement one another? And how can cinema be saved for the future in the face of social distancing rules and underfunding? Since 2018, Jeanine Meerapfel has offered debates on film policy
With its autumn 2020 issue, the open access journal NECSUS addresses numerous issues surrounding the challenges of film festivals in the wake of the covid pandemic. Articles include Film festivals and the first wave of COVID-19: Challenges, opportunities, and reflections on festivals? relations to crises by Marijke de Valck and Antoine Damiens and many more from the film festival researcher community.Find access to the magazine here
On the basis of its growing importance for the dissemination of film culture and the preservation of cinema culture, AG Filmfestival, like other cultural sectors, demands to be concretely included in discussions on exit strategies for the time after Corona. The aim is to agree on short-term intervention to support the film festival landscape and thus also to safeguard the employment crisis, but also to develop a long-term cultural policy
It is time to “to think about the business itself; to re-think the core of what we do, why we do it and what is the actual meaning of what we do? What is it that really matters? That is the massive win of this year, making us re-think the basics.”, Orwa Nyrabia (head of the IDFA) emphasised in an interview with Geoffrey Macnab in the Screendaily. And he is