On February 17, a roundtable was held devoted to support to producers of audio visual and film production, best European practices and perspectives of development in Ukraine. The round table was held upon initiative of the National Television and Radio Broadcasting Council of Ukraine in context of the Joint Programme of the European Union and the Council of Europe “Strengthening Information Society in Ukraine”. Representatives of public authorities, film industry, production studios and the public discussed possible mechanisms for facilitating production of Ukrainian television and film pictures. During the event, the experts of the Council of Europe from the United Kingdom and Slovenia presented the European experience and practice regarding support of the national support to audiovisual and television production.

1. Supporting the audiovisual sector
within a European framework
Dr Sally Broughton Micova

2. Outline
• European Regulatory Framework
• Intervention Tools
– Content quotas
– Public Service Broadcasting
– Subsidies
• Other European Standards & Opportunities

3. European Regulatory Framework
European Union:
• Implementation of Audiovisual Media
Services Directive (AVMSD) within 2 years
• EU Competition rules – The use of “State aid”
in public service broadcasting”
Council of Europe:
• Convention on Transfrontier Television (CTT)

4. Content Quotas
The Rules:
• At least 50% transmission time should be
“European Works” (CTT & AVMSD)
• At least 10% transmission time or 10%
production budget should be independent
production (AVMSD)
Flexibility in further defining what qualifies
as transmission time and as content

5. Content Quotas
Practices:
• Targeting specific types of content by defining
transmission time
– Ex. Macedonia defines as drama, documentary,
educational, informative, concerts, dance, opera,
sitcoms, comedy…
• Focusing on production spend for independent
production
– Ex. Italy requires PSB to to spend 15% of total revenue
on independent producers with 20% for production or
purchase of works originally produced in Italian language.

6. Content Quotas
Practices:
• Domestic quotas based on language or “original
productions”
– Ex. UK requires 50% “original production” (in-house
or commissioned) in license agreement
– Ex. Slovenia requires 20% in-house production, 5%
in Slovene language or of recognized minorities
Trade offs: Quality vs Quantity

7. Content Quotas
Recommendations:
• Define transmission time to encourage specific
genres: informational, cultural, educational
• Focus on production spend for independent
production rather than transmission time
• Be careful about high quotas as they don’t often
lead to quality
• Consider annual or monthly rather than daily to
give broadcasters flexibility and encourage
investment in more substantial content.

8. Public Service Broadcasting
The Rules (EU):
• Defined as a service of general economic
interest – aid is compensation for service
• Must have public service remit defined by the
state that is as precise as possible
• There must be transparency of funding
• May launch new services on new platforms

9. Public Service Broadcasting
The Rules & Recommendations (CoE)
• Adequate, sustainable and accountable funding
(Rec.1878 (2009))
• Independent, accountable, transparent
management (CM/Rec.(2012)1)
• To provide television and radio in minority
languages (Charter for Regional and Minority
Languages)

10. Public Service Broadcasting
Practice:
• PSB as investor in domestic content with
obligations to commission from independent
sector.
– Nearly everywhere in Europe
• PSB as driver of innovation in new kinds of
services such as interactive and online content
– Ex. Estonia, UK
• PSB as investor/producer in cinematic works
– Ex. France, Switzerland, Italy, Greece

11. Public Service Broadcasting
Recommendations:
• Ensure independence and adequate funding for
PSB
• Through obligations or facilitation, position the
PSB as important investor in independent
production sector
• Clearly define PSB remit to meet needs of
diverse population with special attention to
children and minorities

12. Subsidies
The Rules:
• Comply with EU competition rules, generally
under exception for cultural preservation
• Apply financial assistance also to audiovisual
works in minority languages (CoE Charter on
Regional and Minority Languages)

13. Subsidies
Practice:
• Contested funding from state budget, license fee
or other public funds distributed through
competition
– Ex. Croatia has a fund drawn from 3% of the PSB
license fee
• Tax incentives such as relief or rebates for
production (both domestic & foreign)
– Ex. Belgian tax relief attracted international
productions, helped professionalize industry and
increased domestic production

14. Subsidies
Recommendations:
• Make good use of public funding for production
by distributing based on transparent, fair
competition to get the best production.
• Provide tax incentives to producers, especially
the independent production and to international
productions.

15. Other Standards & Opportunities
Investment in training and education:
• Focus on technical and creative professionals
• Utilize apprenticeship schemes
Become part of Creative Europe programme to
access EU funds for audiovisual production
Encourage other public institutions such as
museums, libraries, and universities to work with
PSB and independents on content

16. Questions
Dr Sally Broughton Micova
s.e.broughton-micova@lse.ac.uk
@broughtonmicova