EUParliament Culture Committee Chair Verheyen to EF on EAVO +Digitalisation of Films' Distribution

*Strasbourg/EU Parliament/Angelo Marcopolo/- Replying to an "Eurofora"' Question, EU Parliament's Culture and Education Committee's President, Sabine Verheyen, a ChristianDemocrat/EPP MEP from Germany, stressed that Digitalisation can Help Boost Europe's AudioVisual Production, particularly on Distribution of AV Works, Cnsidering the relevaant Data Recently analysed by the PanEuropean Audio-Visual Observatory, Headquartered in Strasbourg.

- Are you cooperating with CoE's AudioVisual Observatory, (which analyses mainly how Markets treat Films), and do you think Good for Europe to Develop Digital Forms of Distribution of Films, (whose Growing Importance is one of EAVO's Recent Key Findings), "Eurofora" asked, in substance.    

EAVO is the PanEuropean CoE, 47 Member States-strong, including Russia, Independent Experts' Tool for Economic and Legal Analysis on AudioVisual Production in Europe and the World, while "Eurofora" raised those Questions during a Press Conference on the 2019 Award of "Lux" Annual Prize to a New Film co-Produced in Cooperation by 5 European Countries.

     - "First of all, on the Question of Cooperation with the Audio-Visual Observatory : Yes, we, as EU Parliament, do cooperate with the EAVO". F.ex. "we get its Reports, and we regularly Exchange Views, while EU Funding comes from the EU Commission, even if EAVO has a Tight Cooperation with EU Parliament". F.ex. "when we worked on the MultiAnnual Financial Perspectives, we used a lot of Analysis done there by EAVO, which is a very Important Source of Information for us, also for what is going on in Other Countries" of the World, President Verheyen Started to Reply.

    -"On the 2nd Question you raised, about Digitalisation, indeed, in our Medias' Program we have a Number of (EU) specific Programs to Promote Digitalisation : One of them is KINOS, and we Also want to make our Content more Available, so we've got a Tool which looks on Demand Video Platforms, and Established that, at least 30% of the Content present in Video on Demand Platforms has to be of European Origin".

- "I think it's Important, when we are Dealing with the American Players at the Internet, we (EU) manage to get away from the American Mainstream, so that European Works can also be Found and made Available. And that's Important particular for the Public in Europe to have Access to the Works and Films that are Made in Europe", she stressed.

+ "It's Also Important for us (EU) to ensure that Certain Films, such as those Awarded the "Lux" Prize etc., have Easy Access to such Platforms, and, especially when they are Sub-Titled, they can be made Available Europe-Wide, they can be changed in the Right Formats and be exchanged. i know that in some EU Countries, they often Prefere to have Films Translated, Not SubTitled. But for a Growing Number of Cinemas, Subtitles are a very Acceptable Method : So, when a Film is going to be shown Accross Europe, it's Important that we (EU) can actually Promote that Multiplicity of Films : It's Important for the Winners of those Awards, and, even for some People with Disabilities, so that they can see these Films as well", she observed. => So, I think that it's Important to Support those Films to be Available for a Larger Public".

- "As far as Digitalisation is concerned, Yes, we (EU) are Promoting that, Because we Know, first of all, that the Young People use these (Web) Platforms on demand, to get Access to those Films". These require also CopyRight for access, to ensure that they have their Licences", she added.  "I think that it's Important for Europe to succeed to maintain our Diversity and Protect it through the Licences too", she concluded.

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