{"id":3858,"date":"2012-10-05T17:40:25","date_gmt":"2012-10-05T17:40:25","guid":{"rendered":"https:\/\/cinema.video\/?p=3858"},"modified":"2026-04-10T03:23:30","modified_gmt":"2026-04-10T01:23:30","slug":"rff-italian-drama-and-europe-no-system-strategy","status":"publish","type":"post","link":"https:\/\/cinema.video\/it\/rff-italian-drama-and-europe-no-system-strategy","title":{"rendered":"RFF Italian Audiovisual Industry no system strategy"},"content":{"rendered":"<p>The phenomenon of delocalization as a result of the rush to cut costs is increasingly affecting Italian drama production. \u00a0This has emerged from the IV IEM Fondazione Rosselli report \u201cThe audiovisual market and drama: the levers of development\u201d realized for the APT [Italian television producers association].\u00a0 The report was presented at the \u201cPublic resources for drama in Europe and the main European countries\u201d conference held on October 1<sup>st<\/sup> in Rome at the Auditorium Parco della Musica, organized by the APT and Eurovisioni during the Roma Fiction Fest.<\/p>\n<p>The overall loss of domestic resources from 2008 to the present day is estimated at around \u20ac120 million: this consists of lost income for hire companies (\u20ac 67 million), and a quarter refers to lost tax income. \u00a0For the period analyzed in the report, 102 out of 648 (16%) of the productions were realized abroad. \u00a0And this phenomenon appears to have accelerated in the course of 2012.<\/p>\n<p>Delocalization is one of the areas examined in the study by Flavia Barca and Bruno Zambardino which aimed to determine the entity and beneficiaries of the European funds \u2013 European Social Fund (ESF), European Regional Development Fund (ERDF), Eurimages and MEDIA \u2013 which have contributed to supporting various areas of the Italian audiovisual production chain. \u00a0In the period studied, 2007-2011, the European resources allocated to Italian audiovisuals totaled \u20ac60.7 million (provisional figure) representing the majority quota of a total expenditure of around \u20ac 105 million (including resources from the State, Regions and private bodies).<\/p>\n<p>The biggest contribution came from MEDIA with \u20ac 33.5 million (55%), followed by the ERDF with \u20ac 18 million (29%), Eurimages with \u20ac 8.3 million (14%) and the ESF with around \u20ac 1 million (2%). \u00a0The sector that benefited the most from MEDIA resources was distribution (\u20ac 18.5 million), followed by the support provided to producers which amounted to \u20ac7.7 million (\u20ac 1.2 million of which was allocated to drama projects): the latter figure is much lower than the amounts received by France (\u20ac 43 million) and the United Kingdom (\u20ac 17 million). \u00a0The Italian quota, just 4.9% of the total amount allocated by MEDIA, shows our country\u2019s lack of ability to attract MEDIA program resources.<\/p>\n<p>Although the \u201cbig four\u201d (France, Germany, the United Kingdom and Italy) noticed a 6% fall in expenditure by free broadcasters<em> <\/em>on original drama production in 2011 compared to the previous year (26% since 2007), in other countries signs of growth emerged \u201cthanks to a process of diversification of financing sources as well as a clear and efficient regulatory framework\u201d.<\/p>\n<p>In Italy, where the negative trend of broadcasters has determined a drop in drama turnover which, in 2011, fell below the \u20ac 700 million mark (according to IEM estimates), the study concluded that we are paying for the absence of a system strategy in a sector that is \u201crun\u201d by multiple public figures: the Mise for the regulatory framework and technological innovation, the Rai for providing public support to productions, the Parliamentary Committee for monitoring, Agcom for complying with national and European production quotas and the Regional Governments for incentives and support mechanisms.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The phenomenon of delocalization as a result of the rush to cut costs is increasingly affecting Italian drama production. \u00a0This has emerged from the IV IEM Fondazione Rosselli report \u201cThe audiovisual market and drama: the levers of development\u201d realized for the APT [Italian television producers association].\u00a0 The report was presented at the \u201cPublic resources for [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"googlesitekit_rrm_CAow3e7fCw:productID":"","_crdt_document":"","footnotes":""},"categories":[1],"tags":[84],"class_list":{"0":"post-3858","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-senza-categoria","7":"tag-focus-on-italy"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.5 (Yoast SEO v27.5) - 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