Towards sustainable financing models for television production? Challenges for audiovisual policy support in small media markets

This paper sets out from a contextual perspective to describe and evaluate the mix or ‘policy toolkits’ available for policymakers to sustain the financing of tv drama production in small countries, and the mechanisms to support a viable television production sector. It questions how and to what existing TV production in small nations is affected by international and national shifts caused by multiplication of distribution platforms and shifts in media consumption, and to what extent these challenges affect existing ecosystems of TV production. Basing on an evaluation of existing financing and supporting mechanisms for media policymakers, the paper analyzes the sustainability of existing support and new instruments media policymakers have for future-proof regulation and support for domestic quality content. Evidence from this paper derives from a large-scale analysis of the Flemish audiovisual sector. The research is based on analysis of policy and sector documents (annual reports, press releases, policy documents, legislation), secondary data retrieved from TV producers and broadcasters and a series of semi-structured expert interviews and roundtable discussions with representatives of media organizations along the broadcasting value chain

Sustaining local audiovisual ecosystems: shifting modes of financing and production of domestic TV drama in small media markets

Various trends, both technological and economic in nature, have led to a shift in the financing and production of serial television fiction (principally television drama and episodic comedy), resulting in pressure on existing financing of TV fiction. These pressures prove especially difficult for small nations and regions, being characterized by restricted markets, a limited number of active players, and barriers for export and scale. For media policy-makers, these transitions invoke a series of new challenges to sustain existing audio-visual ecosystems. Based on a case study of TV fiction in Flanders, and presenting evidence from a financial analysis of 46 TV fiction productions, this article analyses current financing streams, patterns and dynamics of TV fiction in small media markets. It seeks to reveal the composition of budgets and the relative importance of diverse agents and funders involved in TV fiction production. Critical evaluations are then offered as to whether current financing models and policy support mechanisms are fit to tackle the challenges posed by the increasing number of windows and increased fragmentation of TV fiction financing

Challenges for sustaining local audiovisual ecosystems : analysis of financing and production of domestic TV fiction in small media markets

Various trends, both technological and economic in nature, led to a shift in financing and production of serial television fiction (mostly TV drama and episodic comedy), consequently putting pressure on existing financing of TV fiction. This proves especially difficult for small markets, being characterized by restricted markets, a limited number of active players and barriers for export and scale. For media policymakers, these transitions invoke a series of new challenges to sustain existing audiovisual ecosystems. This article takes analyses current financing streams, patterns and dynamics of TV fiction in small media markets. It seeks to reveal the composition of budgets, the relative importance of all actors and funding involved in TV fiction production, and assesses whether current financing models and policy support mechanisms are fit to tackle the challenges invoked by the increasing number of windows and increased fragmentation of TV fiction financing. The article is based on a case study of TV fiction in Flanders, presenting evidence from a financial analysis of 46 TV fiction productions

Streaming difference(s): Netflix and the branding of diversity

Since 2020, Netflix has emphasised the diversity of representation the platform provides through its content. Following the publication of its diversity report, the streamer positions itself as a driver of inclusion for underrepresented communities in film and television industries. This article examines how Netflix rhetorically frames the emphasis on diversity in its corporate communication. Based on a thematic analysis of Netflix’s press releases, it explores how Netflix uses its branding of diversity to generate a transnational appeal. The article outlines four strategies which highlight the cultural and industrial practices deployed by the streamer to gain competitive advantages. In 2021, Netflix published its first diversity report detailing the make-up of its talents across all US commissioned films and series released between 2018 and 2019. The report shows that, overall, Netflix is outpacing the global entertainment industry with regards to the representation and inclusion of underrepresented groups

Investment obligations for VOD providers to financially contribute to the production of European works, a 2021 update

The latest revision of the Audiovisual Media Services directive (AVMSd) came into force in autumn 2018. The revised directive aims to strengthen European culture and clarifies the rules for investment obligations, i.e. the obligations for on-demand audiovisual media services (VOD) to contribute financially to the production of European works. For the first time, the directive also allows Member States to capture on-demand players that are targeting domestic audiences but are located outside of their borders (such as Netflix, Amazon Prime Video, Disney+, etc.). Building on our report from 2018, the study shows that much has already changed in the media policy landscape and that there are increasing steps taken within Member States to oblige companies that benefit from the distribution of European audiovisual content to also contribute to content production, regardless of the market in which they are based. The findings presented here can support policymakers within and outside the EU that want to introduce or adopt financial obligations for VOD providers in their countries or regions