Because the film industry or the television industry is not part of the NACE classification used by the UN and the EU to group industries, we must create a map to identify elements of the audiovisual or entertainment industries.
ESSnet-Culture recommends mapping in six functions:
- the creation of films, which is the creation of new music works;
- its production, which is the production of feature films, TV series, TV programs of various kinds and advertisement films;
- dissemination, which is film distribution, television and online broadcasting;
- education and training;
- management and regulation.
Analyzing parts of the audiovisual or entertainment industry is almost impossible on the basis of governmental statistics. Most EU countries apply a 4-digit precision of NACE classification, which combines film and television, and even partly advertising on the creation and production levels. Most of the enterprises involved in the European audiovisual sector employ less than 5 people on a permanent basis and escape mandatory statistical surveys.
The term ‘audiovisual industry’ is needed because the production and dissemination of audiovisual products and related copyright management is not specific for feature films or television, especially since the thorough digitization of cinema.
For business analysis, creation, production and dissemination are the important functions. However, in policy analysis, preservation, education and training, management and regulation are also crucial functions.
We are surveying audiovisual industry professionals in their primary and secondary roles, such as being a “an actor” in the first place and a “producer” as a secondary role. We also take not of auxiliary roles which are very typical in creative industries. An actor-director may be involved in film distribution through her enterprise, for example.
We are collecting and compiling statistics from enterprises in the creation, production and dissemination of audiovisual content.
Dissemination or distribution critically relies on the demand of the audience and also on habits of visiting theatres, buying or subscribing to audiovisual content, following television broadcasts, and copying private copies and pirated content. Our market demand estimates are based on nationally representative surveys in a Cultural Access and Participation framework and sentiment analysis such as the analysis of Google search terms in Central and Southeastern Europe.