Original publication: June 2016
Authors: Media Consulting Group: Alain Modot, Laura Almantaitė
Short link to this post: http://bit.ly/2zI9omX
Commission’s proposal for Creative Europe 2021-2027 – internal note, original publication July 2018
Creative Europe: Towards the Next Programme Generation, original publication June 2018
Launched in January 2014, Creative Europe brings together the former Culture, MEDIA and MEDIA Mundus Programmes (2007-2013). The European Union’s new programme is designed to support the cultural, creative and audio-visual sectors along the value chain by financing the development, distribution and promotion of films, series, animation, documentaries, video games, festivals, cinema networks, training and cross-cultural projects.
The methodology used in this study is that of the open-ended questionnaire sent to the heads of the Creative Europe Media Desks. The anonymity of their responses was guaranteed. The Creative Europe Media sub-programme renews to a large extent the Media 2007 lines of support: networking, building capacities for the development of works and distribution of non-national European works on all media. Creative Europe also introduces new lines of action such as encouragement of innovative business models and international co-productions, as well as training in film literacy and audience development.
Analysis of the responses to the questionnaire reveals the principal challenges identified by the Creative Europe Desks (CEDs) in their day-to-day implementation of the new programme and the main difficulties experienced by applicants with the programme’s tools, but also with its guidelines, deadlines, information and new selection criteria, which bring to light imbalances between countries. The conclusions and recommendations fall into three categories.
- CEDs/EACEA/DG relationship
Communication has improved but could be even better to give the CEDs the feeling that they are a true part of the system. “Talk to them” is the baseline.
Due to their important role in applicants’ success, CEDs should have better access to more detailed information on the assessment of unsuccessful applications and should be encouraged to develop greater collaboration.
The EACEA should work harder to develop optimal e-form contents adapted to its different targets.
The Participant Portal needs to be revised with user-friendliness in mind, like NING, a useful tool that can nevertheless be improved with more frequent updates.
The sub-programme is considered relevant and well adapted to professionals’ needs in the digital age, but there is strong demand for one specific change: a review of the automatic points system, which many consider anticompetitive. The automatic points system for low/intermediate/high production capacity countries should be revised and the three-layered system should be applied in all calls for proposals.
In conclusion, in the current context of heightened digital competition, multiplication of distribution channels and scarce public funding, CEDs have a key role to play in the future success of the programme, especially if the overall budget is increased.
Link to the full study: http://bit.ly/573-451
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