Supporting the recovery of the audiovisual industry and enhancing its competitiveness in Europe and globally: these are the goals of the three calls launched by the European Commission in February that fall within the Media section of Creative Europe for 2022.
What is it about?
The Media section of Creative Europe, which has a total budget for this year of 226 million euros in possible funding, has introduced three new calls for proposals this year. The areas are the development of video games and immersive content, the networks of European festivals, the Media 360 ° action. The aim is to support existing industries and new talent and markets, as well as to promote cooperation between different sectors.
In addition to these calls, for which a chapter of € 41 million is foreseen under the Media section, a call focusing on media literacy, with a budget of 2.4 million euros, was also published under the cross-sectoral section of the program. In the coming months, further calls under the three sections of the Creative Europe program will be published on the European Commission’s Funding and Tender opportunities portal.
The Media section of the Creative Europe program aims to support the European film and audiovisual industries in the development, distribution and promotion of European works, taking into account the current digital environment. Another purpose is to encourage cooperation along the audiovisual industry value chain and at EU level to expand European business and content, nurture talent globally, wherever they come from, and engage audiences of all ages, especially the younger generations. The Commission explained that to ensure more flexibility in the actions supported and to encourage cooperation among the different parts of the audiovisual value-chain, the priorities of the 2021-2027 Creative Europe programme for audiovisual are structured around 4 clusters: content, business, audience, political support and awareness.
Regarding the first, “the creation and production of high quality content is the foundation of the European audiovisual industry. European content reflects European values, including diversity”, wrote the European Commission. For this reason, this cluster was designed to support the industry in order to promote the cross-border circulation of European audiovisual works; adapt content to new audiences and platforms; implement stronger business models, helping to cope with production costs and increased competition.
The second cluster, dedicated to businesses, aims to promote innovation, scalability and business talent along the European audiovisual industry value chain. The European Commission explained that specific groups leading the internationalization of the sector will receive targeted support to strengthen cross-border collaboration and promote learning and knowledge sharing to enable industry to go beyond its national territories.
The support within the corporate cluster aims to cultivate audiovisual talents with activities focused on tutoring and digital and environmental skills; to encourage business-to-business exchanges that cover all parts of the value chain and aim for a global reach; to promote the transnational distribution of content across borders and platforms. The recipients are training organizations, distributors and sales agents, technology companies, Vod (video on demand) services, aggregators, exhibitors, film markets. These may apply for funding opportunities within the business cluster.
The third group, the one relating to the public, aims to connect audiovisual works to the public. The European Commission highlighted that the Covid-19 crisis has dramatically affected the audiovisual viewing habits of the European public. And that the progressive shift from cinema to platforms that the sector has witnessed in the last year has taken an incredible acceleration due to the closure of cinemas. In this context, the aim of this Media strand group is to connect European audiovisual works with their audiences and support audience development across Europe and beyond. The program aims to achieve this by stimulating audience growth and renewal by increasing audience across all platforms; engaging with the younger audience through multiple educational and promotional tools; ensuring access to content through subtitling support. Film operators, festivals, video on demand networks and operators, theater distributors, sales agents, heritage institutions, etc. can apply for funding opportunities within this cluster.
The fourth set points to a common European approach to major audiovisual policy issues, which is considered essential for consolidating the single European audiovisual market. The objective of this cluster of support for the policies of the Media section is to promote a holistic European audiovisual policy through regulatory dialogue; sharing analysis and data; forward-looking intelligence on trends; consultation with stakeholders; the promotion and outreach activities. Particular attention in this cluster is on fully exploiting the possibilities of digital transformation during the implementation of projects; strengthening the rejuvenation of the sector and encouraging inclusion, equality, diversity and participation
Creative Europe Program
The Creative Europe program as a whole consists of three sections from 2021: the Media section which provides support to the audiovisual sector; the Culture section which concerns all the other areas of the cultural and creative sectors; the cross-sectoral section which offers opportunities for collaboration between sectors and for the media sector.
A budget of € 2.2 billion has been allocated to the program under the new multiannual financial framework 2021-2027, making it the largest ever funding program for the cultural and creative sectors at EU level.
The budget allocated to Creative Europe for 2022 is € 385.6 million, which the European Commission has explained to be around 30 percent more than in 2021.
For questions, assistance in relation to the program and help with cooperation with organizations from other countries, the Creative Europe desks are present in each of the participating countries.
Giulia Torbidoni – TNC