CresCine’s insights into small markets film industries from our Small Film Markets: Portraits and Comparisons report!Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ Νβ€Œ 
CRESCINE

Crescine Newsdossier #11
03 July 2024
 

In this special edition, CresCine offers insight into how small markets sustain their film industries based on its recently published interactive report β€œSmall Film Markets: Portraits and Comparisons.”

πŸ” In this issue:

  • Explore the challenges faced by the film industries in our seven CresCine ecosystems: Croatia, Denmark, Estonia, Flanders, Ireland, Lithuania and Portugal

  • Compare how the seven markets perform in terms of production, funding, distribution, exhibition and reception

  • Understand which main avenues small film markets pursue towards sustaining their film industries

  • Meet the team behind the report and find links to detailed data and information on the portraits and performance of our seven CresCine markets.

READ THE FULL REPORT HERE.
 

1. Main challenges in film industries in our seven CresCine ecosystems: Croatia, Denmark, Estonia, Flanders, Ireland, Lithuania and Portugal

2. Seven markets performance comparison in terms of production, funding, distribution, exhibition and reception

3. Main avenues small film markets pursue towards sustaining their film industries

4. The team behind the report + detailed data and information on the portraits and performance of our seven CresCine markets.
 

1. What challenges do small film markets in Europe share?

None of the seven small film markets studied by the CresCine project have a domestic market large enough to sustain their film industries. Volatility in terms of funding options, production volume and admissions is a notable feature in most of the studied markets.

The lower output of films in smaller markets also comes with limitations relating to the diversity of forms and genres offered. Analyses of top-performing titles from CresCine markets also reveal that making a film that achieves success both domestically and internationally is challenging.

Festival recognition for films from small markets is highly dependent on individual creatives and films with broad appeal rarely appear in the most prestigious sections of the top three festivals or win the most coveted awards. You can read more about the challenges specific to the individual markets in our seven market portraits.
 READ MORE 
 

2. How do the seven CresCine markets compare?


In the report, you can explore the performance of the seven small film markets between 2014 to 2022 in 67 interactive graphs (read more about methodology).

None of the CresCine markets is clearly ahead across production, funding, distribution, exhibition and reception. Ireland and Flanders excel in exports, while Denmark has the highest level of domestic audiences and production volume compared to the other markets. Ireland has the highest incoming investments but Estonia, Lithuania and Portugal have significantly increased incoming investments over the studied period 2014-22.

Ireland was the most cinema-going nation in the sample, while Estonia has seen the highest growth in admissions before the Covid-19 pandemic. Portugal and Denmark have the highest number of nominations and participations at the Cannes Film Festival.

These figures evidence the diversity of competitive strengths and weaknesses in the small markets studied, which also relate to the different avenues they have found to sustain their film industries. 
 READ MORE 
 

3. What avenues do small markets pursue to sustain their film industries?

Four avenues stand out as essential β€˜orientation options’ of small markets: cultural β€˜resonance’, export, production service and cinematic art.

Each of the seven markets pursue these avenues to varying degrees and in different combinations. Each orientation also comes with a different form of legitimacy such as national-cultural relevance, foreign sales, job creation & GDP, and artistic recognition.

Each orientation has its own success criteria and is couched within a specific policy landscape. To get more insights into the competitiveness of European film industries, explore the section The Bigger Picture.
 READ MORE 
 

4. Meet the Team and read more about the report

The report Small Film Industries: Portraits and Comparisons has been written by a team of academic and industry partners from the CresCine consortium.

The investigation into the small European markets was led by Aarhus University, whose researchers you can meet below. Colleagues from Vrije University Brussels coordinated the comparison with larger markets, where also colleagues from Tallinn University participated, which will be in focus in our next news dossier!

Jakob Isak Nielsen, Associate Professor, Department of Media and Journalism Studies, Aarhus University. Co-editor of a book of American drama series, Fjernsyn for viderekomne (2011), and a follow-up book with a transnational focus on serial phenomena in the IDTV era, Streaming for viderekomne (2020). Relevant research projects: What Makes Danish TV Drama Series Travel? (Independent Research Fund Denmark, 2014-2018); CresCine – Increasing the International Competitiveness of the European Film Industry in Small European Markets (Horizon-RIA, 2023-2026).

Cathrin Bengesser, Assistant Professor for Digital Media Industries at Aarhus University, focuses on the European streaming and film market, transnational audiences, and European media policy. She leads the AUFF-funded project β€œEUVoD” (2021-24), analyzing the shift from broadcast to VoD in Europe, and participates in the Horizon Europe project β€œCrescine” (2023-26), aimed at enhancing the competitiveness of film industries in smaller markets. Bengesser also contributed to a study on European production companies for the EC’s Directorate-General. Additionally, she is the co-director of Aarhus University’s Centre for Transnational Media Research and chairs ECREA’s Television Section.

Postdoc at School of Communication and Culture - Department of Media and Journalism Studies at Aarhus University.

Ivana Kostovska is a researcher in film and TV economics at IMEC-SMIT-VUB. Her current research focuses on understanding the changes in the European film and television industries driven by the rise of global streamers, with an emphasis on shifts in policies and commissioning practices. At SMIT-VUB, she is involved in contract research for various stakeholders, including the European Commission. As part of the CresCine project, Ivana leads tasks and contributes to comparative analyses of film exports, co-productions, distribution, and commissioning practices by global streamers, film sales markets, as well as film and AV policy.
 READ MORE 
 

Consortium
 
 
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