18

résultat(s)

Mot(s)
Type de publication
Domaine politique
Auteur
Date

Creative Europe programme 2021-2027

24-08-2020

Having considered the possibility of merging the Creative Europe programme with other programmes supporting European values, rights and justice, the European Commission has decided to continue the Creative Europe programme as a stand-alone programme, increasing its budget by 17 %. The only programme focusing exclusively on cultural and creative activities and enterprises, it falls under the 'Cohesion and values' heading of the 2021-2027 multiannual financial framework. The existing programme focuses ...

Having considered the possibility of merging the Creative Europe programme with other programmes supporting European values, rights and justice, the European Commission has decided to continue the Creative Europe programme as a stand-alone programme, increasing its budget by 17 %. The only programme focusing exclusively on cultural and creative activities and enterprises, it falls under the 'Cohesion and values' heading of the 2021-2027 multiannual financial framework. The existing programme focuses on the economic dimension of the cultural sector and its contribution to job creation and economic growth. Some stakeholders have voiced concern at taking such a strongly economic approach to culture. Under the proposed programme, the economic dimension is one axis alongside the social dimension, and culture's contribution to international relations. The proposed framework for cultural policy therefore highlights not only the economic dimension of the cultural and creative sectors, but also the role of culture in social cohesion and its relation to creative and artistic freedom and diversity, and freedom and plurality of media. Both Parliament and Council have agreed positions on the proposal, and trilogue negotiations started in autumn 2019 with a view to finding agreement before Council’s first reading. Fourth edition. The 'EU Legislation in Progress' briefings are updated at key stages throughout the legislative procedure.

Les politiques de l’Union – Au service des citoyens: Promouvoir la culture européenne

28-06-2019

Le concept de diversité culturelle est au cœur du projet européen. Ces dernières années ont été marquées par un regain d’intérêt envers la capacité du secteur culturel à promouvoir la cohésion sociale, l’unité et la tolérance, ainsi que par la reconnaissance sans cesse renouvelée de son précieux rôle économique. Les institutions de l’Union européenne s’engagent résolument à garantir l’intégration de la culture à l’ensemble des domaines stratégiques, en se concentrant tout particulièrement sur la ...

Le concept de diversité culturelle est au cœur du projet européen. Ces dernières années ont été marquées par un regain d’intérêt envers la capacité du secteur culturel à promouvoir la cohésion sociale, l’unité et la tolérance, ainsi que par la reconnaissance sans cesse renouvelée de son précieux rôle économique. Les institutions de l’Union européenne s’engagent résolument à garantir l’intégration de la culture à l’ensemble des domaines stratégiques, en se concentrant tout particulièrement sur la protection du patrimoine culturel et de la diversité culturelle, deux éléments clés de l’identité et de l’expression culturelles. D’un point de vue économique, le secteur de la culture et de la création emploie 8,4 millions de personnes à travers l’Union européenne: c’est une industrie dynamique qui affiche un fort potentiel de croissance du fait de sa diversité et de l’espace qu’elle offre à la liberté de création individuelle. La réalisation de ce potentiel se heurte pourtant à des obstacles, au nombre desquels figurent la diversité linguistique, la fragmentation et la diversité des mécanismes de financement au sein de l’Union. L’industrie culturelle et créative européenne est en outre confrontée aux défis que représentent les technologies numériques et la concurrence mondiale: il lui faut notamment se mesurer à l’industrie audiovisuelle des États-Unis et aux efforts diplomatiques déployés par la Chine et par les États-Unis pour promouvoir leur production culturelle. En vertu du traité sur le fonctionnement de l’Union européenne (traité FUE), les compétences de l’Union en matière de stratégie culturelle se limitent à un rôle auxiliaire et complémentaire, ce domaine relevant très largement de la responsabilité directe des États membres. Depuis 2014, ces enjeux sont néanmoins abordés au niveau de l’Union, notamment dans le cadre du renforcement du marché unique numérique, qui est crucial pour l’accès à la culture, la circulation des œuvres culturelles européennes, la juste rémunération des créateurs et la création de conditions de concurrence équitable. Depuis la crise économique, des financements supplémentaires ont par ailleurs été octroyés au secteur par l’intermédiaire du Fonds européen pour les investissements stratégiques créé par la Commission Juncker en 2015. Comme l’indique une communication de la Commission de 2017 sur le rôle de la culture et de l’éducation, les synergies entre les aspects socio-économiques doivent être renforcées. L’Année européenne du patrimoine culturel 2018 doit alimenter la réflexion et les mesures prises au sujet de notre culture et de notre histoire partagées. Ces questions sont abordées dans le nouvel agenda européen de la culture, tandis que le nouveau cadre financier pluriannuel pour la période 2021-2027 prévoit une hausse des fonds alloués à la culture. Ces fonds soutiendront également les efforts déployés pour conjuguer aptitudes artistiques et compétences technologiques, ces dernières étant désormais indissociables de l’expression artistique dans le nouvel environnement numérique. La présente note d’information est une révision d’un document publié avant les élections européennes de 2019.

The Audiovisual Media Services Directive

25-01-2019

Following political agreement with the Council, a vote in plenary on 2 October 2018 saw Parliament adopt the updated EU Audiovisual Media Services Directive, based on the proposal presented by the Commission on 25 May 2016. The overarching goal of the proposal was to bring about a balance between competitiveness and consumer protection. It therefore aimed to introduce flexibility when restrictions only applicable to TV are no longer justified, promote European films, protect minors and tackle hate ...

Following political agreement with the Council, a vote in plenary on 2 October 2018 saw Parliament adopt the updated EU Audiovisual Media Services Directive, based on the proposal presented by the Commission on 25 May 2016. The overarching goal of the proposal was to bring about a balance between competitiveness and consumer protection. It therefore aimed to introduce flexibility when restrictions only applicable to TV are no longer justified, promote European films, protect minors and tackle hate speech more efficiently. The proposal also reflected a new approach to online platforms. Following adoption of the revised directive, EU Member States now have to bring the new rules into national law by 19 September 2020. Sixth edition. The ‘EU Legislation in Progress’ briefings are updated at key stages throughout the legislative procedure.

The place of women in European film productions: Fighting the celluloid ceiling

17-01-2019

The sexual assault allegations brought against Hollywood producer Harvey Weinstein laid bare the painful reality for scores of women working in the film industry around the world. However, sexual harassment is seemingly just the tip of the iceberg in an industry where gender inequalities relating to biased representation and pay are arguably systematic and pervasive. Europe's own film industry has not been spared. The weighted average of films directed by women in the 2012-2016 period is just 19.6 ...

The sexual assault allegations brought against Hollywood producer Harvey Weinstein laid bare the painful reality for scores of women working in the film industry around the world. However, sexual harassment is seemingly just the tip of the iceberg in an industry where gender inequalities relating to biased representation and pay are arguably systematic and pervasive. Europe's own film industry has not been spared. The weighted average of films directed by women in the 2012-2016 period is just 19.6 %, with country results varying from 5 % (Latvia) to 30 % (Sweden). More worryingly, research shows that the various positions in the film industry appear to be dominated by one or the other gender. Thus, women are over-represented in professions traditionally considered feminine – such as costume design and editing – and under-represented in others viewed as more technical, such as those dealing with sound, music and image. To start redressing these imbalances, various EU-level initiatives have been introduced in support of female film projects. One such example is the LUX Film Prize, through which over the past 11 years the European Parliament has been consistently encouraging the dissemination of films directed by women and portraying strong, inspiring female characters. For its part, the European Commission has started measuring women's participation in key positions in projects supported under the Media strand of its Creative Europe programme. Similarly, it is currently considering specific ways for a more gender-balanced provision of support. Yet again, the cultural support fund of the Council of Europe – Eurimages – committed in its 2018-2020 strategy to achieving equal distribution of co production funding between women and men by the year 2020; the distribution of funding currently stands at 38 %. Sweden is the EU leader in terms of regulatory policies at national level. The critical acclaim won by Swedish female filmmakers in the past 10 years has shown that by applying a methodical and systematic approach it is possible to achieve gender equality without compromising quality.

Creative Europe Programme (2014 to 2020)

26-10-2018

The study provides an up-to-date evaluation of the implementation of the selected smaller and bigger actions within the Creative Europe programme (2014 to 2020) with focus on the European dimension and European added value of the undertaken actions as well as their visibility.

The study provides an up-to-date evaluation of the implementation of the selected smaller and bigger actions within the Creative Europe programme (2014 to 2020) with focus on the European dimension and European added value of the undertaken actions as well as their visibility.

La directive «Services de médias audiovisuels»

26-09-2018

La directive «Services de médias audiovisuels» est la pierre angulaire de la réglementation des médias dans l’Union européenne. Elle assure une harmonisation minimum de certains aspects de la législation nationale facilitant la circulation de ces services au sein de l’Union. La Commission a proposé de mettre cette directive à jour pour renforcer l’équilibre entre compétitivité et protection du consommateur et rendre compte de la nouvelle approche relative aux plateformes en ligne. Le Parlement européen ...

La directive «Services de médias audiovisuels» est la pierre angulaire de la réglementation des médias dans l’Union européenne. Elle assure une harmonisation minimum de certains aspects de la législation nationale facilitant la circulation de ces services au sein de l’Union. La Commission a proposé de mettre cette directive à jour pour renforcer l’équilibre entre compétitivité et protection du consommateur et rendre compte de la nouvelle approche relative aux plateformes en ligne. Le Parlement européen devrait voter le texte convenu lors des négociations en trilogue au cours de la période de session d’octobre I.

Broadcasting of major sports events in the EU

28-05-2018

The topic of audiovisual sports rights has gained increasing relevance, including in the light of the upcoming football World Cup in Russia this summer. As most people will not be able to attend the sports games they wish to see, they will use the media to hear the news or to get full direct coverage through live broadcasts. However, media coverage of sports events is regulated by complex copyright rules and the exclusive right to broadcast top sports events live comes at a cost. In 2014, the global ...

The topic of audiovisual sports rights has gained increasing relevance, including in the light of the upcoming football World Cup in Russia this summer. As most people will not be able to attend the sports games they wish to see, they will use the media to hear the news or to get full direct coverage through live broadcasts. However, media coverage of sports events is regulated by complex copyright rules and the exclusive right to broadcast top sports events live comes at a cost. In 2014, the global sports rights market was worth nearly €19 billion. In the EU, broadcasters spent around €5.8 billion on the acquisition of rights in 2009, which represented nearly 17 % of their total €34.5 billion programming spend. But how exclusive can audiovisual rights be?

Research for CULT Committee - Creative Europe - Media: Implementation, First Experiences

15-07-2016

Creative Europe brings together the former Culture, MEDIA and MEDIA Mundus Programmes to support the cultural, creative and audio-visual sector. The new programme renews supports for development, distribution and promotion but introduces encouragement of innovative business models, of international co-productions, and of cross-cultural projects as well as training in film literacy and audience development. Responses to the anonymous questionnaire send to the Creative Europe Desks (CEDs) reveal ...

Creative Europe brings together the former Culture, MEDIA and MEDIA Mundus Programmes to support the cultural, creative and audio-visual sector. The new programme renews supports for development, distribution and promotion but introduces encouragement of innovative business models, of international co-productions, and of cross-cultural projects as well as training in film literacy and audience development. Responses to the anonymous questionnaire send to the Creative Europe Desks (CEDs) reveal the main challenges in the implementation of the programme and the main difficulties experienced by applicants. The conclusions and recommendations fall into three categories. • Communication between, CEDs, EACEA and the two DG, communication could be even better and CEDs should be encouraged to develop greater collaboration with local applicants. • The EACEA should work harder to develop optimal e-tools adapted to its different targets and must revise the participant’s portal in a user-friendly approach. • Guidelines are well adapted to professionals' needs, but a review of the automatic points system, which many consider anticompetitive, must be launched. Finally, CEDs have a key role to play in the future success of the programme.

Auteur externe

Media Consulting Group: Alain Modot and Laura Almantaitė

The Audiovisual Media Services Directive: state of play

11-11-2015

The EU's audiovisual sector comprises over 100 000 companies and employs more than 760 000 people. Audiovisual media services however outrun market considerations by playing a central role in modern democratic societies, which accounts for the application of specific rules across the European Union (EU). Current transmission capacities have come a long way from the first linear broadcasts. The Internet, together with media convergence, is changing the way people use media. Although television is ...

The EU's audiovisual sector comprises over 100 000 companies and employs more than 760 000 people. Audiovisual media services however outrun market considerations by playing a central role in modern democratic societies, which accounts for the application of specific rules across the European Union (EU). Current transmission capacities have come a long way from the first linear broadcasts. The Internet, together with media convergence, is changing the way people use media. Although television is still the most popular medium in the EU and globally, internet comes close behind. This shift in media consumption holds both promises and challenges. The advent of internet-enabled TV faces regulators with complex dilemmas, such as protecting young people from harmful content and banning incitement to hatred, while still ensuring freedom of speech. The Audiovisual Media Services (AVMS) Directive covers all services with audiovisual content, including 'on-demand', and audiovisual advertising. However, it takes into account the degree of user control over the service and therefore on-demand services are subject to lighter regulation. Member States are encouraged to use co-regulation and/or self-regulation as complementary approaches to the Directive's provisions, in particular in relation to commercial communications and the protection of minors. The Commission's 2012 report on the implementation of the AVMS Directive concluded that in general, the EU regulatory framework performed well. The Commission is currently processing the results from a public consultation on the functioning of the Directive and is expected to present a proposal for a review by the end of 2015.

Creative Europe Programme

14-09-2015

Creative Europe, which brings together under one roof three different culture and media-related programmes from the previous 2007-13 funding period, is designed to support the activities of the cultural and audiovisual sectors in participating countries, and generate synergies between the two sectors. Its €1.46 billion budget represents a 9% increase on the total spent in the various sub-programmes in 2007-13. Of this envelope, 31% is earmarked for culture, 56% for media and 13% for the cross-sectoral ...

Creative Europe, which brings together under one roof three different culture and media-related programmes from the previous 2007-13 funding period, is designed to support the activities of the cultural and audiovisual sectors in participating countries, and generate synergies between the two sectors. Its €1.46 billion budget represents a 9% increase on the total spent in the various sub-programmes in 2007-13. Of this envelope, 31% is earmarked for culture, 56% for media and 13% for the cross-sectoral strand, including a Guarantee Facility to be launched in 2016.

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25-01-2021
Public Hearing on "Gender aspects of precarious work"
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26-01-2021
Public hearing on Co-management of EU fisheries at local level
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PECH
26-01-2021
The impact of Brexit on the level playing field in the area of taxation
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FISC

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