Traduction de «Film production » (Anglais → Français) :

film production method | film production procedure | film production activity | film production process

film production [ cinema film | cinematographic production ]

film production manager | theater production manager | performance production manager | theatre production manager

Canadian Film or Video Production Tax Credit [ CPTC | Film or Video Production Services Tax Credit ]

Film Products Importation Act [ An Act respecting the importation into Canada of film and related products ]

Federal Act of 14 December 2001 on Film Production and Film Culture | Film Act [ FiA ]

Agreement Between Canada and France concerning films and film production

film director | tour production manager | executive producer | producer

film industry [ cinematographic distribution | cinematographic industry | film distribution ]

production policy [ industrial management | production management | reorganisation of production | Industrial management(ECLAS) | Industrial management(STW) | Production management(STW) | industrial management(UNBIS) ]

Further promoting tools to improve access to EU works online, including the creation of ready-to-offer catalogues of European films in order to give Video-on-Demand (VoD) services a well curated catalogue of films from different producers, the development of licensing hubs to facilitate the licensing of works in countries where they have not been released in cinemas or where there is no national distributor; and a larger use of standard identifiers of works.The use of common identifiers will help find rights holders more easily and facilitate licensing; Promoting wider access to EU works, and address linguistic barriers through more ef ...[+++]ficient funding subtitling and dubbing (including an online repository); investing in a European aggregator so that people can find more easily a legal offering of films online; promoting the use of data and automated tools for content recommendation, in view of developing and enlarging audiences for European works; working with film industry to promote the discoverability of European films and exploring joint promotion strategies for European co-productions; and funding in 2017 catalogues of European films for educational purposes to present the diversity and quality of European films to young audiences. Exploring new business models, starting with the EU animation sector by discussing how animation films and television animation can travel even better and discussing how the sector can scale up.

This includes working with industry to streamline licensing practices and industry agreements for more sustained use and wider availability of European works; investing in online tools for the legal digital distribution of European works in countries where they have not been released in cinemas or where there is no national distributor; supporting a catalogue of European films to give VOD services a well curated catalogue of films from different producers; and promoting interoperable standard identifiers for seamless and reliable identification of works. Promote wider access to EU works, and address linguistic barriers through more ef ...[+++]ficient funding subtitling and dubbing (including an online repository); investing in a European aggregator so that people can find more easily a legal offering of films online; promoting the use of data and automated tools for content recommendation, in view of developing and enlarging audiences for European works; working with film industry to promote the discoverability of European films and exploring joint promotion strategies for European co-productions; and creating and funding in 2017 a catalogue of European films for educational purposes to present the diversity and quality of European films to young audiences. Exploring new business models, starting with the EU animation sector by discussing how animation films and television animation can travel even better and discussing how the sector can scale up.

13. Points out that the financing, production and co-production of films and television content depend to a great extent on exclusive territorial licences granted to local distributers on a range of platforms reflecting the cultural specificities of the various markets in Europe; that being so, emphasises that the ability, under the principle of freedom of contract, to select the extent of territorial coverage and the type of distribution platform encourages investment in films and television content and promotes cultural diversity; calls on the Commiss ...[+++]ion to ensure that any initiative to modernise copyright is preceded by a wide-ranging study of its likely impact on the production, financing and distribution of films and television content, and also on cultural diversity;

30. Recalls that film production and co-production call for substantial financial investment, and that the current legal framework does not prevent multi-territorial licencing, therefore stresses that the diversity of production and distribution schemes should continue to apply in order to encourage investment in European films, so as to respond to the linguistically and culturally diverse European market and safeguard and promote cultural diversity;