Describe the issues deterring global penetration of the entertainment industry
The physical, economic, government regulations, cultural, technological and inadequate media awareness are some of the contributing factors to the slow growth of the entertainment industry. Cultural factors are the leading barriers to media penetration globally. The target consumers’ literacy level, religious beliefs, language, community preference or attitude towards media contents, and cultural imperialism are the reasons. Governments also deter the entertainment platform from growing globally due to the stringent regulatory legislations that hinder media development. For instance, some states have very strict laws that do not uphold the democratic right of freedom of speech. In addition, in other countries, private ownership of a media organization is prohibited as governments prefer to control them to their advantage. Moreover, the media is often intimidated by state administrations through recurrent threats as they strive to expose the atrocities within a country.
The physical conditions of a country can also act as barriers to media development. Mainly, physical conditions are controlled by the geography and topography of a location, which determines the successful transmission and transportation of any media content. Another barrier to global penetration of the entertainment industry is inadequate education to the media professionals. Therefore, it becomes hard to solicit and relay the appropriate information required to reach the viewers. Lack of technology advancement is also cited as one of the barriers to penetration of global entertainment, as most organizations and nations do not have modern communication methods.
Does the French media industry attribute its success to national passion?
The French film industry has grown from a country’s passion for developing and building this platform for the viewers’ satisfaction. For that reason, French movies have continued to thrive because the sector currently makes up at least a third of the total production outcomes of the European film revenues. Besides, French films are slowly outnumbering those produced in America. Moreover, demand for films has led to an increase in movie production and ticket sales. Actually, through estimation, Paris has the highest number of movie theaters that can comfortably hold a large number of viewers. There are also art houses and cinemas where foreign movies are viewed alongside films produced in France.
On the other hand, France collects an enormous amount of entertainment revenues from tickets sold out in this region. Due to these huge sales, France film market has won the third position in film viewing and income production after Japan and America. In essence, France has at least 50% of Movie Theater viewers who contribute 80-90% of income collected in this country. Moreover, the French film industry is slowly going global as its exports are surging on a daily basis to other markets outside its boundaries. French films are also produced in small budgets, guaranteeing consistent supply in the entertainment market, resulting in increased revenue production in the region. In addition, France has produced many talented artists who have won the country prestigious positions in the Oscar awards and Asterix.
What complexities are facing content production fraternity?
By exiting the European Union, Britain has restrained movement issues from one country to another to shoot a film, making it more complicated. Britain was guaranteed free movement of goods, people, and services in the past, as this is one key feature ascertained to all EU members. Currently, the wider European or South American executives, crew, and cast are faced with the problem of acquiring work permits and visas to work in other Britain and vice versa. On the other hand, moving goods from Britain to another country and vice versa has become a lengthy process. Special custom permits are required to transport movie cameras, vehicles, costumes, and other requirements.
As a result, of stringent movement regulations, fewer distributions of films outside Britain are now becoming a frustrating reality while other European countries are continually limiting the distribution of their contents into British media platforms. In the past years, funding from the EU contributed to the massive exportation of British films to other nations for enhanced content development in this region and to expose Britain’s entertainment platform to the larger European audiences. Consequently, due to a weakened pound, international films are slowly declining as British content distributors find it difficult to acquire materials that are too expensive while they sell it at slight profit margins due to a poor exchange rate. Nonetheless, the greatest challenge for content producers remains to be a decline in subsidy provision.
Short Answers
How well has the Italian film industry flourished in the recent past?
Italian films have become significant revenue generation platforms, which have continued to produce profits for both studios and the government of Italy. The reason behind this development is cited as increased movie audience, renewed interest in the national film production, and emerging talents within this industry.
What is RTL’s Competency?
The RTL broadcasting medium has significantly grown and attained a target audience of 23% of German viewers. Nonetheless, its success lies in its competitive abilities to produce many German programs at low costs and nurturing its public relations in all of Germany households, which have eventually acknowledged its presence.
How do both Europe and American film producers fund their contents?
Film production is expensive, thus the need for extensive financing. Therefore, American producers finance their movies through private equity, crowd funding, tax incentives, bank loans, pre-sales, and investor equities. On the other hand, European films are funded through sales-lease, tax funds, Glasgow film funds, film council funds, distributor financing, and co-production.
What role does the Germany government play in developing its entertainment industry? First, the German government rarely involves itself with the content production sector within this region. In addition, it advocates for independent programming and supports the development of the German culture in all films. However, it is criticized for irregular licensing fees, which can increase anytime.
What are the issues facing the Brazilian entertainment platform?
Due to a diverse population Brazil, content producers are often faced with various problems. Some of the challenges involved include unprofitable prices, lower buying power, poorly structured market infrastructure, piracy, market uncertainty, client preference of foreign films, and inconsistency of consumers on this platform.
How does Televisa compete with other film production industries in Mexico and on the global platform?
The Televisa film production platform has continued to be the leading media coverage channel in the whole of Mexico. Concisely, its success is attributed to the medium’s ability to leverage content across all networks, implement health acquisitions with other media companies, improve strategic plans, and to provide their target clients with attractive films.
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