Consumers expect virtual screens to start replacing TVs, cinemas in under a year+PDF

More than two-thirds of consumers believe that virtual reality (VR) and augmented reality (AR) will become mainstream in media, education, work, social interaction, tourism and retail, according to the latest Ericsson ConsumerLab report. The Merged Reality report revealed that when boundaries between people’s perception of physical and virtual reality start to blur, this could result in a drastic impact on lives and society. It suggests that the way we live, work, and consume information and media will fundamentally change. Key findings of the latest report include that seven out of ten early adopters expect VR/AR to change everyday life fundamentally in the aforementioned six domains. It also revealed that media is already being transformed and consumers expect virtual screens to start replacing televisions and cinemas in less than a year. However, the report stressed that realities will not merge if the user is tethered to a computer or cut off from physical reality. The study also observed that early adopters of VR/AR expect next-generation networks like 5G to play a central role.; just over a third have expectations on 5G to provide VR/AR mobility through a stable, fast and high-bandwidth network. One in three early adopters also expect 5G […]

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The internet is finally going to change the movie business, and it could cost theaters billions

The internet is finally going to change the movie business, and it could cost theaters billionsAsa Mathat Technology has upended most of the media industry, but one thing that hasn’t changed is the new movie business: If you want to see most films when they’re released, you have to go to a movie theater to watch them. That is finally going to change, says MoffettNathanson analyst Robert Fishman, in part because the movie studios want and need it to change, and in part because Netflix is going to push the industry forward whether it likes it or not. That is probably good news for you, a person who wants to see movies wherever you choose to watch them. That is bad news for the movie theater companies. The studios are pushing for a new “window” which would let you see a new movie at home, for an extra fee, before the standard 90-day waiting period after it opens in theaters. And Netflix doesn’t want you to wait at all. It has started aggressively building up a straight-to-streaming library of movies, which could theoretically compete with ones that are in the theaters. Figuring out what that could mean for the theater operators involves a lot of guesstimating, because it hasn’t happened yet. But Fishman is […]

80 top film-makers sound alarm over EU copyright rules

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La performance cinéma Française expliquée en 3 chiffres – Stephane Hochberg | Tableau Public

En 2016, le cinéma français affiche une nouvelle fois sa bonne santé. Avec 213 millions de billets vendus, en progression de +3,6% vs 2015, c’est le pays de l’Union Européene avec les plus fortes entrées en salle. Elle observe également la 2ème plus forte fréquentation par habitant (3,3 entrées par an), juste derrière l’Irlande (3,4).

Cinexpert – baromètre du public des salles de cinéma+”pdf”

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European Audiovisual ObservatoryTransparency through information

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Le nouveau dispositif de classification des films de cinéma: 13/03/2017

Depuis plusieurs années, plusieurs litiges relatifs à la classification de films ont été initiés par l’Association Promouvoir qui entend empêcher l’accès des mineurs à un certain nombre de films (notamment Nymphomaniac, Antichrist ou plus récemment La vie d’Adèle et Love).

Elle a ainsi contesté à plusieurs reprises devant les juridictions administrative le visa d’exploitation attribué par le Ministre de la Culture après avis de la commission de classification des œuvres cinématographiques du CNC.

En septembre 2015, après la décision du Conseil d’état confirmant l’interdiction de Love de Gaspar Noé aux moins de 18 ans (CE 30 septembre 2015 n° 392461), la Ministre de la Culture et de la Communication avait chargé Jean-François Mary, président de la Commission de classification des œuvres, de rédiger un rapport sur la question de l’accès des films pouvant heurter le jeune public.

European Audiovisual ObservatoryTransparency through information

Cinéma : la SACD veut des comptes transparents pour les auteurs et les éditeurs

European Audiovisual ObservatoryTransparency through information+”PDF FR”


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Plan Export du CNC : une forte ambition internationale

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Les chiffres clés de la production cinématographique en 2015

Les éléments d’analyse du présent document reposent sur la déclaration des dépenses de l’année 2015 effectuée auprès du Conseil supérieur de l’audiovisuel par les éditeurs de services étant soumis aux obligations de contribution au développement de la production d’œuvres cinématographiques conformément aux décrets n° 2010-416 du 27 avril 2010 (services non hertziens) et n° 2010-747 du 2 juillet 2010 (services hertziens).

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European Audiovisual ObservatoryTransparency through information

European Audiovisual ObservatoryTransparency through informationFree Films on television – report released by the European Audiovisual Observatory for MIPCOM The 31% share of EU films breaks down into 16% of national and 15% of European non-national films, indicating significant circulation of European films. The number of film broadcasts increased by 12.4% between the 2011/12 and 2014/15 seasons studied but the actual number of films broadcast has decreased. So the number of broadcasts per film has increased. 45% of single titles broadcast were produced in Europe, 46% in the USA and 9% in ROW for the two seasons studied (2011/12 and 2014/15). Films on television – Origin, Age and Circulation This brand new report from the European Audiovisual Observatory, part of the Council of Europe in Strasbourg, has been published free on line in time for the 2016 edition of the MIPCOM. It provides an analysis of films programmed by a sample of 125 TV channels from 17 EU countries for two seasons: 2011/12 and 2014/15. Market share for European films Films produced in Europe accounted for 31% of films broadcast by the TV channels of the sample during the 2014-2015 season. This share is slightly lower when considering only prime-time hours (26%). The 31% share of EU films breaks down into 16% of national films and 15% of European non-national films, indicating a significant level of circulation of films as regards broadcasting on TV. The share of EU films increased for the 2014-2015 season when compared with 2011-2012, both for all day broadcasts (31% vs. 28%) and prime-time broadcasts (26% vs.23%). Fewer titles but more broadcasts The 125 TV channels of our sample broadcast 101 849 films (including repeats) during the 2014-2015 season, which amounts to more than 2.7 films broadcasts per day. Excluding repeats by the same TV channels, the 101 849 broadcasts […]

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