results 2012

Transcription

results 2012

CNC Dossiers
nº 326 – May 2013
a publication of the
Centre national du cinéma
et de l’image animée
12 rue de Lübeck
F-75784 Paris Cedex 16
www.cnc.fr
Research & statistic Department
tél. +33 (0)1 44 34 38 26 / fax +33 (0)1 44 34 34 55
Communication Department
tél. +33 (0)1 44 34 36 95 / fax +33 (0)1 44 34 34 73
results 2012 – CNC Dossiers – nº 326 – May 2013
CNC Dossiers
nº 326 – May 2013
results 2012
results 2012
Films, television programs, production, distribution,
exhibition, exports, video, new media
Ainsi soient-ils. © Zadig Productions / Arte France.
Avant que de tout perdre by Xavier Legrand.
© KG Productions.
On the Trail of the Marsupilami by Alain Chabat.
© Chez Wam / Nicolas Guiraud / Pathé Distribution.
Rebound. © Rob Payne / BETC / Canal+.
Louise Wimmer by Cyril Mennegun. © Haut et Court.
The Pirogue by Moussa Touré. © Éric Névé / Les Chauves souris / Astou Films / Rezo Films.
Love by Michael Haneke. © Les Films du Losange.
Camille Rewinds by Noémie Lovsky.
© Arnaud Borrel / F comme Film – Ciné @ / Gaumont Distribution.
Ernest & Celestine by Benjamin Renner, Vincent Patar and Stéphane Aubier.
© Studio Canal Distribution.
The Invisibles by Sébastien Lifshitz. © Ad Vitam.
CNC Dossiers
nº 326 – May 2013
results 2013
Introduction
p. 5
01. Theatrical Releases
p. 7
02. Films and Fiction on Television
p. 19
03. Export of French Films and Television Programs
p. 37
04. Electronics and Household Spending on Film, Video and Television
05. Movie Theater Audiences
06. Film Production
p. 57
p. 71
07. Support for Television Production
08. Distribution
09. Exhibition
p. 101
p. 113
10. Physical Video Media
p. 121
11. Non-Physical Video Services
12. Technical Services Sectors
13. Video Games
14. World Cinema
15. Public Funding
p. 85
p. 131
p. 141
p. 149
p. 157
p. 171
– Insert :
Cinema and television, financial connections
p. 49
Introduction
Having embarked upon the same adventure,
French cinema and the CNC have a shared destiny.
Their expanded territory coincides with the frontiers of
both the physical and digital world. This is evidenced
by the numerous French films selected by the most
prestigious festivals, as well as the list of CNC
subsidies, particularly the new World Cinema Support,
which, during its first year, in 2012, already helped
55 art house films from the five continents.
While these directors are looking for French producers,
an ever-increasing number of our own directors are
shooting abroad, with international teams and artistic
subjects.
In 2012, with over 220 million admissions worldwide –
including 138.4 million beyond our borders – French
cinema has proven its ability to attract the largest and
most diverse audiences. Cinema attendance in France
has certainly declined, with 203.4 million admissions,
but it was supported by a well-rounded selection.
With a market share of 40.3%, French cinema held
its own within France, and it was often ranked third
abroad. French film production also remained at
a satisfactory level (209 French-initiative films),
and was even more dynamic when including minority
co-productions (70). However, this growth must not
conceal the increasing production bipolarization
between low- and high-budget films. Consultation has
been initiated with industry professionals in order to
rectify the observed imbalances within the film sector.
2012 was also the year of the near total shift of movie
theaters to digital technology. Over 93% of screens
in France are now digitalized thanks to VPFs paid by
distributors, with significant supplementary public
aid. The CNC has been particularly attentive to
changes in theater program offerings due to this
digitalization. In France, we enjoy an incredibly rich
selection, with over 6,200 films shown in 2012.
Now more than ever, the daily efforts of cinema owners
and distributors to draw the largest audiences to
theaters must be supported so that digital technology
continues to promote such diversity. This is true for
both feature-length and short films, which should once
again be shown in theaters, with the success of
the Jour le plus Court having demonstrated
the interest of wider audiences in short films.
Film life cycles are now extended to new screens.
The Video on Demand selection reached nearly
11,000 films in 2012, significantly more than the number
of films shown in theaters and as many as the number
of films available on physical video media.
The delinearized consumption of television programs
increased significantly, as a result of catch-up TV:
over 2.5 billion videos were viewed this way in 2012.
More than 70% of Internet users watched programs
via catch-up TV. The necessity of adapting our support
system has thus become even more crucial in order
to better respond to the constant shifts in the sector.
In a wholly digital world, where artistic and geographic
limits tend to disappear, the need to support creators
in their projects is all the greater, through intelligent,
united, progressive regulation of the industry,
encouraging professionals to have a stronger, more
aggressive showing on international markets.
In order for our French model, which has been an
influence all over the world, to persist and to grow
stronger in this new expanding world, the cultural
exception must remain fully guaranteed in France and
in Europe. Today, however, certain European Commissioners
would be ready to liquidate our cultural heritage and
to give up these industries that create meaning and
identity, as well as millions of jobs in Europe.
Our position is clear. We shall neither discuss,
nor even renegotiate this cultural exception in
the trade agreement under consideration between the
European Union and the United States. No commitment
to liberalization should be tolerated, be it in the area
of film, television, or digital technology.
Éric Garandeau, CNC President.
Astérix and Obélix: God Save Britannia
by Laurent Tirard. © Jean-Marie Leroy /
Wild Bunch Distribution.
Houba! On the Trail of the Marsupilami by Alain Chabat.
© Chez Wam / Nicolas Guiraud / Pathé Distribution.
Les Seigneurs by Olivier Dahan.
© Warner Bros. France.
Taken 2 by Olivier Mégaton. © Magali Bragard / Shanna Lelia Besson /
M6 Films / Grive Productions / EuropaCorp.
The Players by Jean Dujardin, Gilles Lelouche,
Emmanuelle Bercot, Fred Cavayé, Michel Hazavanicius,
Éric Lartigau, Alexandre Courtès and Jan Kounen. © Mars Distribution.
Happiness Never Comes Alone
by James Huth. ©Christine Tamalet /
Pathé Distribution.
Would I Lie to You? 3 by Thomas Gilou. © Mars Distribution.
01
Theatrical Releases
During 2012, movie theaters took in 203.44 million admissions,
a 6.3% decrease after an outstanding year 2011.
In 2012, French films brought in 82.06 million admissions, for a market share of 40.3%.
The average receipt per admission increased by 1.4% to €6.42.
What’s in a Name by Mathieu Delaporte
and Alexandre de la Patellière.
© Jean-Claude Lother / Pathé Distribution.
Rust and Bone by Jacques Audiard. © Roger Arpajou / Why Not Productions / UGC Distribution.
Stars 80 by Frédéric Forestier
and Thomas Langmann. © Warner Bros. France.
01
Theatrical Releases
A
More than 203 million admissions
With 203.44 million tickets sold in 2012, paid admissions
in theaters increased by 6.3% compared to 2011.
This decrease was the consequence of exceptionally high
movie theater attendance in 2012. Indeed, attendance
in 2012 was significantly higher than the average for the
last ten years and within the average for the last five years
(193.10 million between 2003 and 2012 and 203.83 million
between 2008 and 2012). Over the last ten years, there were
1.93 billion admissions to French theaters, compared
to 1.54 billion between 1993 and 2002 (+25.8%).
7.15 million paid showings were organized in movie
theaters in 2012 (+1.5% compared to 2011). Since 1993,
when multiplex theaters first emerged, the number of
showings has continued to increase year after year.
Over the course of the last ten years, the number of showings
increased by 23.8%. In 2012, cinematographic films
exceeded the threshold of 7 million showings for the
second year in a row.
Cinematographic films represented 99.9% of showings
in 2012 and took in 99.7% of admissions and 99.3% of
receipts. At the national level, non-cinematographic films
hold a marginal position in theaters.
Several films were massive hits in 2012. Twenty films
exceeded two million admissions (the same number as
in 2011), two of which exceeded 6 million (three in 2011,
including one film with more than 15 million admissions).
In 2012, attendance in different European markets varied
differently. As in France, it decreased in Italy (-9.9%) and
in Spain (-7.3%). On the contrary, attendance increased
in Germany (+4.2%) and more moderately in the United
Kingdom (+0.5%).
In 2012, in France, the decrease in sales was less than for
admissions (-5.0%), resulting in an increase in the average
price of admission to €6.42 (€6.33 in 2011).
After several years increasing, the result of the boom
of 3D films, which generally sold for €1 to €3 more per
admission, the average receipt per admission had stabilized
in 2010 and 2011. The new growth seen in 2012 was the result
of an increase in the discounted VAT applied to cultural
products, which rose from 5.5% to 7.0% on January 1, 2012.
B
In 2012, 16.6% of admissions were earned by original
versions of films shown in foreign languages. This
percentage has increased very slightly over the past ten
years. It has ranged from 14.2% (in 2003) to 20.2%
(in 2009).
Increase in the attendance of French films
Despite a slight decrease in 2011 (-0.6 point), the market
share for French films remains high in 2012, to 40.3%.
French films accounted for 82.06 million admissions
in 2012, a decrease of 7.6% compared to 2011, but a higher
result than the average for the last five years (an average
of 81.13 million admissions for French films in 2008 and
2012). This result is, moreover, considerably higher than
the ten-year average: since 2003; French films took in
an average of 75.50 million admissions a year. Including
admissions abroad, French films received 220.44 million
admissions in 2012 (163.18 million in 2011 and
134.08 million in 2010).
American films garnered 86.86 million admissions
(-12.7% compared to 2011). The market share for American
films decreased by 3.1 points to 42.7% in 2012, the lowest
level since 1985 (39.2% at the time).
8 results 2012 / CNC Dossiers / nº 326 – May 2013
In 2012, non-French European film admissions rose
by 14.4%, to 27.00 million. Following the increase in 2011,
their market share increased to 13.3%.
In 2012, British films attendance slightly fell (-6.4%)
to 17.00 million, despite the success of Skyfall (6.80 million
admissions), Sherlock Holmes : A Game of Shadows
(2.38 million admissions) and Dark Shadows (1.95 million
admissions). However, 2012 was, as 2011, a good year for
German cinema (1.69 million admissions). These results
are driven by the success of several titles such as Barbara
(about 290,000 admissions) and A Dangerous Method
(more than 275,000 admissions). The number
of admissions in Italy rose from 0.41 million in 2011
to 1.54 million in 2012. This increase is mainly due
to Woody Allen’s film, To Rome with Love (more than
532,000 admissions).
Overall, eight non-French European films garnered over
500,000 admissions in 2012 (ten in 2011, twelve in 2010).
The majority of these successes were British films
(5 titles), one film was Finnish Little Brother, Big Trouble:
A Christmas Adventure (about 609,000 admissions), one
film was Italian (To Rome with Love) and one was Spanish
(The Impossible, more than 528,000 admissions).
The admissions made by non-European and non-U.S.
films rose by 45.6% to 7.51 million admissions in 2012,
a 3.7% market share (2.4% in 2011). This increase is namely
due to the success of the film from New-Zealand
The Hobbit: An Unexpected Journey (3.35 million
admissions). Two more films accounted for more than
400,000 admissions in 2012 : Starbuck (Canadian film)
and From Up on Poppy Hill (Japanese film).
2003200420052006200720082009 2010 2011 2012
French films 60.5375.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.1684.24
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.1686.3974.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74.1388.8482.06
.................................................
. . . . . . . . . . . . . . . . . . . . 37.1240.0660.42
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45.1364.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.3754.83
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.52
. . . . . . . . . . . . . . . . . . . . 57.05
..........
100% French . .41.25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.1521.2919.32
.................................................
majority French 15.5936.7420.7619.0615.8418.6319.55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.103.31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.156.035.69
...............................................
minority French 3.691.373.344.764.20
. . . . . . . . . . . . . . . . . . . . 93.52
. . . . . . . . . . . . . . . . . . . . 80.42
. . . . . . . . . . . . . . . . . . . . 83.37
. . . . . . . . . . . . . . . . . . . . .87.55
. . . . . . . . . . . . . . . . . . . 82.34100.14
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98.54
. . . . . . . . . . . . . . . . . . . .99.47
. . . . . . . . . . . . . . . . . . . .86.86
..........
American films . 90.46
. . . . . . . . . . . . . . . . . . 19.1427.5816.95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22.10
. . . . . . . . . . . . . . . . . . . .17.8720.2531.0223.6027.00
.........................................................................................
European non-French films . . . .9.67
. . . . 1.711.82
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.781.062.431.362.330.641.661.69
...................................................................................................................................................
German . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11.29
. . . . . . . . . . . . . . . . . . . . 17.19
. . . . . . . . . . . . . . . . . . . . . .9.7613.3524.29
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.17
. . . . . . . . . . . . . . . . . . . 17.00
..........
UK . . . . 6.1814.6923.78
average
box office receipt per
admissions receipts admission showings
(in million)
(in €M)
(in €) (in million)
2003 173.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . .996.11
. . . . . . . . . . . . . . . . . . . . . . . . . . . .5.74
. . . . . . . . . . . . . . . . . . . . . . . .5.77
.......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.82
. . . . . . . . . . . . . . . . . . . . . . . .6.05
.......
2004 . . . 195.691,138.94
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.88
. . . . . . . . . . . . . . . . . . . . . . . .6.09
.......
2005 . . . 175.521,031.24
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.94
. . . . . . . . . . . . . . . . . . . . . . . .6.24
.......
2006 . . . 188.771,120.72
...............................................................................................................................................................................................
Spanish 0.601.450.443.200.393.402.072.722.492.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.191.210.390.620.411.54
...........................................................................................................
Italian 0.610.420.700.56
. . . . . . . . . . . . . . . . . . . . . . . . 7.80
. . . . . . . . . . . . . . . . . . . .3.37
. . . . . . . . . . . . . . . . . . . .4.22
. . . . . . . . . . . . . . . . . . . .3.59
. . . . . . . . . . . . . . . . . . . .3.57
. . . . . . . . . . . . . . . . . . . 6.89
. . . . . . . . . . . . . . . . . . . . .3.26
. . . . . . . . . . . . . . . . . . . .5.16
. . . . . . . . . . . . . . . . . . . .7.51
.......
other films 12.79
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178.41
. . . . . . . . . . . . . . . . . . . . 190.18
. . . . . . . . . . . . . . . . . . . .201.51206.95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217.07203.44
................................
total 173.46195.69175.52188.77
B
Admissions by country of origin (in million)
1
2010 and 2011 updated data; 2012 provisional data.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.95
. . . . . . . . . . . . . . . . . . . . . . . .6.29
.......
2007 . . . .178.411,061.52
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.01
. . . . . . . . . . . . . . . . . . . . . . . .6.58
.......
2008 . . . .190.181,142.21
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.14
. . . . . . . . . . . . . . . . . . . . . . . .6.70
.......
2009 . . . .201.511,236.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.32
. . . . . . . . . . . . . . . . . . . . . . . .6.84
.......
2010 . . .206.951,308.92
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.33
. . . . . . . . . . . . . . . . . . . . . . . .7.04
.......
2011 . . . .217.071,373.92
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.42
. . . . . . . . . . . . . . . . . . . . . . . . .7.15
......
2012 . . .203.441,305.63
A
2003200420052006200720082009 2010 2011 2012
Admissions and box office receipts1
1
French films 34.938.436.644.636.545.436.835.840.940.3
...............................................................................................................................................................................................
...............................................................................................................................................................................................
100% French 23.819.022.832.025.334.025.526.528.328.0
. . . . . . . . . . . . . . . . . . . . . . . .18.8
. . . . . . . . . . . . . . . . . . . . 11.8
. . . . . . . . . . . . . . . . . . . . 10.18.99.89.76.89.89.5
...............................................................................................................................
majority French 9.0
...............................................................................................................................................................................................
minority French 2.10.71.92.52.41.61.62.52.82.8
. . . . . . . . . . . . . . . . . . . . . . . . 47.845.844.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.143.349.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.645.842.7
...............................................
American films 52.2
. . . . . . 5.6
. . . . . . . . . . . . . . . . . . . . 9.815.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.012.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.410.015.010.913.3
.....................................................................................
European non-French films ...............................................................................................................................................................................................
German 1.00.91.00.61.40.71.20.30.80.8
. . . . . . . . . . . . . . . . . . . . . . . . . . .7.5
. . . . . . . . . . . . . . . . .13.56.09.65.16.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.78.48.4
...............................................
UK 3.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1
. . . . . . . . . . . . . . . . . . . . 1.1
.....
Spanish 0.30.70.31.70.21.81.01.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.10.60.20.30.20.8
.........................................................................................................
Italian 0.40.20.40.3
...............................................................................................................................................................................................
other films 7.44.01.92.22.01.93.41.62.43.7
...............................................................................................................................................................................................
total 100.0100.0100.0100.0100.0100.0100.0100.0100.0100.0
B
Market share by country of origin (in % of admissions)
1
results 2012 / CNC Dossiers / nº 326 – May 2013 9
01
Theatrical Releases
C
D
E
615 feature-length films opened in French theaters
in 2012 (594 in 2011). Together, they earned 90.2% of the
year’s total admissions. The decrease in the percentage
of admissions earned by the year’s new films (93.5%
in 2011) is the result of continuations of films released
at the end of 2011 (The Intouchables and The Artist earned
2.82 million and 1.58 million admissions, respectively,
in 2012). It also results from the success of several films
re-released in 3D, such as Titanic (1.14 million admissions)
and Star Wars: Episode I - The Phantom Menace (almost
619,000 admissions).
The total number of films in French theaters was particularly
high, with 6,237 films shown in 2012, compared to 6,533
in 2011.
After several years of contractions, the concentration
of admissions around several films increased greatly
in 2012. Indeed, the share of the 20, 30, 50 and 100 top
films is increasing compared to 2011. The 10 highestperforming films accounted for 36.4% of yearly admissions
in 2012, the highest share of the decade and 9.6 points
more than in 2011.
However, the concentration of admissions for French
films dipped slightly: the 20 highest-performing films
accounted for 55.0% of total French film admissions
in 2012, compared to 59.4% in 2011 and 57.1% in 2010.
20 films took in over 2 million admissions
The year 2012 saw 54 films breaking the record of one
million admissions, compared to 53 films in 2011.
films exceeded two million admissions in 2012
(as in 2011) and 7 films totaled over 4 million admissions
(5 in 2011).
22 French films sold over a million tickets in 2012, one
film more than in 2011. Eight French films exceeded
2 million admissions (four in 2011), two of which brought
in more than four million admissions (as in 2011).
In parallel, 28 American films sold over a million tickets
in 2012 (27 in 2011), 9 of which broke the 2 million barrier
(13 in 2011). Four American films garnered over 4 million
admissions in 2012, compared to a single one in 2011.
releasedreleased
sameprevious
year
yearother
total
. . . . . . . . . . . . 91.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.43.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2003 . . . . . . . . . . . .92.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.12.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2004 . . . . . . . . . . . . 91.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.62.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2005 . . . . . . . . . . . .92.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.82.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2006 . . . . . . . . . . . . 90.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.12.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2007 . . . . . . . . . . . .92.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.82.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2008 . . . . . . . . . . . .93.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.02.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2009 . . . . . . . . . . . .90.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.42.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2010 . . . . . . . . . . . .93.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.02.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2011 . . . . . . . . . . . .90.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.83.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
2012 C
Results for films released
one year and films released
the previous years1 (% of admissions)
1
overoveroveroverover
4 millions 2 millions
1 million
500,000
100,000
all films
. . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . .14
. . . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . . . . . 95224
.............................
2008 . . . . . . . . . . . . . .7
. . . . . . . . . . . . . . . . . . . . . .21
. . . . . . . . . . . . . . . . . . . . . . . 53101245
.....................................................
2009 . . . . . . . . . . . . . .7
. . . . . . . . . . . . . . . . . . . . . .26
. . . . . . . . . . . . . . . . . . . . . . . .51
. . . . . . . . . . . . . . . . . . . . . . . 95230
.............................
2010 . . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . . . . . . . .20
. . . . . . . . . . . . . . . . . . . . . . . 53
. . . . . . . . . . . . . . . . . . . . . . .111247
..............................
2011 . . . . . . . . . . . . . .7
. . . . . . . . . . . . . . . . . . . . . .20
. . . . . . . . . . . . . . . . . . . . . . . 54
. . . . . . . . . . . . . . . . . . . . . . . . 95243
.............................
2012 French films top 10
top 20
top 30
top 50
top 100
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61.678.8
...........................
200326.840.148.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
. . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . . . . . . . 98
.....
2008 25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
. . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . . . . .109
.......
2009 16
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
. . . . . . . . . . . . . . . . . . . . . . . 34
. . . . . . . . . . . . . . . . . . . . . . . . 94
.....
2010 18
. . . . 26.138.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.460.878.8
...............................................
2004
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
. . . . . . . . . . . . . . . . . . . . . . . 38
. . . . . . . . . . . . . . . . . . . . . . 112
.......
2011 24
...........................................................................................
200524.036.745.659.177.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
. . . . . . . . . . . . . . . . . . . . . . . . 37
. . . . . . . . . . . . . . . . . . . . . . .111
......
2012 28
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.559.176.4
...............................................
200626.839.2
. . . . 27.939.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.158.874.0
..............................................
2007
American films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.358.776.1
...............................................
200829.239.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
. . . . . . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . . . .100
.......
2008 28
. . . . . . . . . . . . . . . . . . . . . . . . 37.246.258.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77.2
.......
200924.3
. . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . . . . . . . .13
. . . . . . . . . . . . . . . . . . . . . . . 29
. . . . . . . . . . . . . . . . . . . . . . . . 50101
.............................
2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77.7
.......
201024.039.049.061.4
. . . . . . . . . . . . . .414264999
..................................................................................................
2010 ...........................................................................................
201126.838.446.458.275.8
. . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . . . . . . . .13
. . . . . . . . . . . . . . . . . . . . . . . 27
. . . . . . . . . . . . . . . . . . . . . . . . 60105
.............................
2011 ...........................................................................................
201236.445.752.758.375.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
. . . . . . . . . . . . . . . . . . . . . . . . 49
. . . . . . . . . . . . . . . . . . . . . . . . 98
.....
2012 49
D
Top performing films1
(in % of admissions)
1
E
Films that reached admissions
benchmarks1
1
F
In 2012, a British film, Skyfall, third opus of the James
Bond saga, was in first place at the box office, with
6.80 million admissions at the end of 2012. An American
animation film, Ice Age: Continental Drift, ranked second
in 2012 with 6.63 million admissions. The first French
film, HOUBA! On the Trail of the Marsupilami, was in third
place with 5.30 million admissions.
titleorigin1
In 2012, the three best-performing films accounted for
18.73 million admissions, i.e. 9.3% of the year’s total.
In 2011, the three films with the greatest number of
admissions accounted for 14.6% of the year’s attendance.
Among the 54 films that earned over one million admissions
in 2012, 15 were shown partially or entirely in 3D.
release
date
admissions
(in million)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GB26/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.80
........
1 Skyfall
28 ...............................................................................................................................................................................................
2 ...............................................................................................................................................................................................
Ice Age: Continental Drift
US27/06/12 6.63
29 ...............................................................................................................................................................................................
Happiness Never comes Alone
FR27/06/12 1.83
My Way
3 ...............................................................................................................................................................................................
HOUBA! On the trail of the Marsupilami
FR04/04/12 5.30
30 ...............................................................................................................................................................................................
FR/BE14/03/12
The Hunger Games
US21/03/12 1.73
4 ...............................................................................................................................................................................................
The Twilight Saga: Breaking Dawn – Part 2
US14/11/12 4.43
31 ...............................................................................................................................................................................................
5 ...............................................................................................................................................................................................
The Avengers
US25/04/12 4.41
32 ...............................................................................................................................................................................................
6 ...............................................................................................................................................................................................
The Dark Knight Rises
US25/07/12 4.40
33 ...............................................................................................................................................................................................
7 ...............................................................................................................................................................................................
Would I Lie to You?3
FR01/02/12 4.11
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR08/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.45
........
34 Zarafa
8 ...............................................................................................................................................................................................
Asterix and Obelix: God Save Britannia
FR/HU/ES/IT17/10/12
3.78
35 ...............................................................................................................................................................................................
9 ...............................................................................................................................................................................................
Madagascar 3: Europe’s Most Wanted
US06/06/12 3.41
36 ...............................................................................................................................................................................................
10 ...............................................................................................................................................................................................
The Hobbit: An Unnexpected Journey
NZ12/12/12 3.35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US10/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.38
.......
37 Ted
11 ...............................................................................................................................................................................................
What’s in a Name
1.76
The Artist
FR12/10/11 1.58
American Reunion
US02/05/12 1.52
J. Edgar
US11/01/12 1.45
Mince alors!
FR28/03/12 1.45
Secret of the Wings
US10/10/12 1.43
FR25/04/12 3.34
38 ...............................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US01/08/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.16
.......
12 Brave
39 ...............................................................................................................................................................................................
Journey 2: The Mysterious Island
US15/02/12 1.32
Total Recall
13 ...............................................................................................................................................................................................
Taken 2
FR03/10/12 2.90
40 ...............................................................................................................................................................................................
US15/08/12 1.28
Un plan parfait
14 ...............................................................................................................................................................................................
The Intouchables
FR02/11/11 2.82
41 ...............................................................................................................................................................................................
FR/BE31/10/12
Wreck-It Ralph
US05/12/12 1.20
In the House
FR10/10/12 1.18
On the Other Side of the Freeway
FR19/12/12 1.18
1.22
15 ...............................................................................................................................................................................................
les Seigneurs
FR26/09/12 2.73
42 ...............................................................................................................................................................................................
16 ...............................................................................................................................................................................................
The Amazing Spider-Man
US04/07/12 2.54
43 ...............................................................................................................................................................................................
17 ...............................................................................................................................................................................................
Sherlock Holmes: A Game of Shadows
GB25/01/12 2.38
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US07/11/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.15
.......
44 Argo
18 ...............................................................................................................................................................................................
Rise of the Guardians
US28/11/12 2.27
45 ...............................................................................................................................................................................................
19 ...............................................................................................................................................................................................
The Players
FR29/02/12 2.26
46 ...............................................................................................................................................................................................
20 ...............................................................................................................................................................................................
Men in Black 3
US23/05/12 2.12
47 ...............................................................................................................................................................................................
21 ...............................................................................................................................................................................................
Snow White and the Huntsman
US13/06/12 1.98
48 ...............................................................................................................................................................................................
22 ...............................................................................................................................................................................................
The Expendables 2
US22/08/12 1.96
49 ...............................................................................................................................................................................................
23 ...............................................................................................................................................................................................
Dark Shadows
GB09/05/12 1.95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US11/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.06
........
50 Battleship
24 ...............................................................................................................................................................................................
Rust and Bone
FR/BE17/05/12
51 25 ...............................................................................................................................................................................................
Project X
US14/03/12 1.85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US22/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.02
.......
52 Chronicle
1.91
Titanic – 3D
US04/04/12 1.14
Step Up 4: Miami Heat
US08/08/12 1.13
Kirikou and the Men and Women
FR03/10/12 1.10
The Girl With the Dragon Tatoo
US18/01/12 1.07
Alvin and the Chipmunks 3
US21/12/11 1.07
Ducoboo 2: Crazy Vacation
FR25/04/12 1.06
...............................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US30/05/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.84
........
26 Prometheus
53 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR/BE28/11/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.01
.......
54 Populaire
F
Stars 80
FR24/10/12 1.83
...............................................................................................................................................................................................
Porn in the Hood
FR11/07/12 1.02
...............................................................................................................................................................................................
Films earning over a million admissions in 2011
1
BE: Belgium / ES: Spain / FR: France / GB: Great Britain / HU: Hungria / IT: Italy /
NZ: New-Zealand / US:United-States.
01
Theatrical Releases
G
Methodology
Films results by genre are listed for the sixth year in a row.
This data only takes into account first-run feature films
and is therefore significant only for the new release
market share.(See table C on page 10).
The selection of first-run documentaries reached a new
record with 92 films distributed in 2012, compared to
68 films a year on average between 2003 and 2012.
They represented 15.0% of first-run films (15.2% in 2011)
and generated 1.0% of admissions in 2012 (0.7% in 2011).
In 2012, the animated film selection returned to a high
level, with 31 new films. On average, animation generated
more admissions per film than other genres: it accounted
for 5.0% of new films in 2012 and generated 14.6%
of admissions with these films (5.7% of first-run feature
films and 16.2% of their admissions in 2011). Out of the
top ten films with the highest admissions in 2012,
two were American animated films: Ice Age: Continental
Drift and Madagascar 3: Europe’s Most Wanted. In 2012,
French films generated 17.3% of admissions among all
animated films (14.2% in 2011), particularly due to
the success of Zarafa (1.45 million admissions) and
Kirikou and the Men and Women (1.10 million admissions).
Comedies traditionally draw the largest share of attendance
in France. In 2012, 100 first-run comedies were offered
in French cinemas, i.e., 16.3% of the total film selection
(123 films and 20.7% in 2011). Seventeen comedies brought
in over one million admissions (twelve in 2011).
Despite having fewer films, the comedy genre earned
a larger share of admissions in 2012 (28.9%) than in 2011
(23.6%). Every year, French films account for over half of
admissions to comedies. In 2012, this share was 83.3%
(67.1% in 2011). Fourteen French comedies passed the
million-admissions benchmark, compared to ten in 2011.
animated
features
documentariescomedies
H
Over half were weekend admissions
Moviegoers continued to prefer weekends for viewing.
54.9% of admissions were recorded between Friday
and Sunday in 2012 (as in 2011). Thursday’s share dipped
slightly to 10.7% of admissions (11.2% in 2011).
Wednesday’s share continued to drop: the opening day
for new films accounted for 12.3% of the year’s admissions,
compared to 12.6% in 2011 and 12.9% in 2010. On the
contrary, the share of admissions captured by Monday
and Tuesday continued to grow, reaching 22.1% in 2012,
compared to 21.3% in 2011 and 20.9% in 2010.
other
total
2003 11.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55.4
. . . . . . . . . . . . . . . . . .100.0
..........
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60.0
. . . . . . . . . . . . . . . . .100.0
..........
2004 12.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58.2
. . . . . . . . . . . . . . . . . .100.0
..........
2005 10.3
2008
2009
2010
2011
2012
...............................................................................
Monday . . . . . . 11.010.610.610.310.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.6
. . . . . . . . . . . . . . . . .100.0
..........
2006 15.5
...............................................................................
Tuesday . . . . . .10.910.610.311.011.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66.7
. . . . . . . . . . . . . . . . .100.0
..........
2007 15.3
...............................................................................
Wednesday . . . . . .12.413.312.912.612.3
. . . . . . . . . . . . . . . . 9.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.034.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54.6
. . . . . . . . . . . . . . . . . .100.0
..........
2008 ...............................................................................
Thursday . . . . . .10.510.611.211.210.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53.4
. . . . . . . . . . . . . . . . . .100.0
..........
2009 15.2
...............................................................................
Friday . . . . . .13.513.613.213.713.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56.4
. . . . . . . . . . . . . . . . . .100.0
..........
2010 16.5
...............................................................................
Saturday . . . . . .20.820.920.720.720.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59.6
. . . . . . . . . . . . . . . . .100.0
..........
2011 16.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.120.421.2
...........................................
Sunday . . . . . . 21.020.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55.5
. . . . . . . . . . . . . . . . .100.0
..........
2012 14.6
..................................................................................
total . . . 100.0100.0100.0100.0100.0
G
H
New releases figures by genre (in % of admissions)1
Only applies to first-run theatrical releases (new releases), i.e., 90% to 94% of all
admissions, depending on the year (see Table C, page 10). 2010 and 2011 updated data;
2012 provisional data.
1
Attendance by day (in % of admissions)
1
I
J
A decrease in attendance in all regions
In 2012, attendance decreased throughout France.
The city of Paris saw a slight decrease in admissions:
-3,4% to 27.30 million. Attendance increased significantly
in the inner (-4.4%) and outer commuter belt (-6.4%).
In the regions, fall was higher than the national average
with 7.0%, compared to 6.3% throughout France.
This is particularly the case for smaller towns and villages.
While urban areas with more than 100,000 inhabitants
saw attendance decrease by 6.7% (87,42 million admissions
in 2012), admissions fell by 8.4% to 22.44 million admissions
in cities with less than 20,000 inhabitants.
In 2012, average attendance reached 3.31 admissions
per inhabitant in France, versus 3.54 in 2011. This average
remained higher in the capital city (12.51) attracting a large
audience from the suburbs. In 2012, the attendance rate
fell throughout France. The slightest decrease was visible
in urban areas of less than 20,000 inhabitants, where
the rate was 0.91 in 2012 (0.99 in 2011).
20082009 2010 2011 2012
Île-de-France . . . 54.9258.2958.3360.27
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57.58
..........
Paris 26.83 28.14 27.7428.2627.30
.....................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.1415.44
...........................
inner commuter belt (departments 92, 93, 94) . . . .14.5115.3515.49
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.1015.8714.85
.............................................
outer commuter belt (departments 77, 78, 91, 95) . . . .13.5714.80
....................................................................................
rest of the country .135.26143.22148.62156.80145.86
urban areas with over 100,000 inhabitants 81.0186.9490.7593.73 87.42
.....................................................................................
.................................................................................
urban areas with 20,000 - 100,000 inhabitants . . . .32.3934.3535.7738.5635.99
. . . . . . . . . . . . . . . . . .21.93
. . . . . . . . . . . . . . . . . .22.1024.5022.44
.............................................
other areas . . . .21.86
total France I
Île-de-France
190.18 201.51206.95 217.07203.44
.....................................................................................
Admissions by location (in million)1
1
20082009 2010 2011 2012
Paris . . . . . .4.765.055.065.234.99
...............................................................................
inner commuter belt (departments 92, 93, 94) 12.3012.9012.7212.9612.51
.....................................................................................
...............................................................................
outer commuter belt (departments 77, 78, 91, . . . . . .3.353.553.583.733.57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.162.96
.........................
95) . . . . . .2.702.953.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.142.92
.........................
rest of the country . . . . . .2.712.872.98
urban areas with over 100,000 inhabitants 4.654.995.215.385.02
.....................................................................................
...............................................................................
urban areas with 20,000 - 100,000 inhabitants . . . . . . 4.194.444.634.994.66
...............................................................................
other areas . . . . . .0.880.890.890.990.91
...............................................................................
total France . . . . . . 3.103.283.373.543.31
J
Attendance index by location1
1
Attendance index = admissions / population.
Source: CNC / INSEE – 2006 census
01
Theatrical Releases
K
Average receipts per admission have increased
The CNC traditionally calculates an admission receipt
average (ARA). This indicator is calculated by simply
dividing box-office receipts by paid admissions, which
are declared by exhibitors. The ARA accounts for both paid
admissions not including unlimited membership passes
and admissions brought in as part of membership passes,
for which receipts are recovered according to the reference
price. The reference price rose from €5.03 to €5.10 for part
of the admissions concerned in 2012.
The ARA reached €6.42 € in 2012, a 1,4% increase compared
to 2011 (€6.33). Comparatively, inflation in France in 2012
rose by 2.0% according to INSEE. Between 2008 and 2010,
the ARA had increased by 5.3%, from €6.01 to €6.32.
Prices were stable in 2011 but rose in 2012 as the result
of an increase in VAT applied to cultural products.
The ARA in France masks a wide range of prices charged
by movie theaters. It takes into account the proportion
of each rate to the number of tickets sold. In 2012,
50.6% of paid admissions sold (or recovered) cost between
€5 and €7, compared to 49.8% in 2011 and 52.1% in 2003.
17.7% of paid admissions sold cost less than €5
(19.6% in 2011 and 24.6% in 2003) and 31.7% cost more
than €7 (30.6% in 2011, 23.3% in 2003). Tickets sold
at over €10 accounted for 17.10 million admissions,
an increase of 24.4% compared to 2011. They accounted
for 8.4% of total admissions in 2012 (6.3% in 2011).
After a strong rise between 2010 and 2011 (+81.0%),
the number of tickets sold between €20 and €29.99
remained stable between 2011 and 2012 (+1.1%).
These high rates, which were mostly for made-for-TV
showings, represented just over 200,000 admissions
in 2012, or 0.1% of total admissions.
It should also be added that annual attendance at movie
theaters is increased through a certain number of free
admissions. In 2012, 4.71 million free admissions were
recorded, bringing total cinema attendance to 208.15 million.
Free admissions thus represent 2.3% of total admissions
in 2012. In 2011, 4.95 million free admissions were accounted
for (2.2% of the total), bringing total attendance to
222.02 million admissions.
By including free admissions, the ARA reached €6.27
in 2012 (€6.19 in 2011).
2003200420052006200720082009 2010 2011 2012
less than €3.00 . . . . . .6.99
. . . . . . . . . . . . . . . . . . 7.696.98
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.59
. . . . . . . . . . . . . . . . . .7.306.385.405.645.636.67
.................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.28
. . . . . . . . . . . . . . . . . . 15.49
. . . . . . . . . . . . . . . . . . 13.81
. . . . . . . . . . . . . . . . . . 10.52
. . . . . . . . . . . . . . . . . . . . .7.61
.......
€3.00-3.99 . . . . . .8.488.878.288.698.31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.6118.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20.1520.8526.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.78
..........
€4.00-4.99 . . . .27.2226.5222.6620.44
. . . . . . . . . . . . . . . . . .70.1360.5866.4363.5865.7364.7362.5366.4463.82
.........................................................................................................................................................
€5.00-5.99 . . . .59.95
. . . . . . . . . . . . . . . . . .37.8236.99
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41.7439.58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41.9940.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39.12
. . . . . . . . . . . . . . . . . .41.7339.07
...........................
€6.00-6.99 . . . .30.37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.1113.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.9821.7721.8421.49
...............................................................
€7.00-7.99 . . . .20.2818.3913.7913.57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.1314.47
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.1215.59
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.31
. . . . . . . . . . . . . . . . . .17.9616.66
...........................
€8.00-8.99 . . . .18.5520.0218.29
. . . . . . . . . . . . . . . . . .5.72
. . . . . . . . . . . . . . . . . . 7.5212.4413.5114.9713.3913.6812.80
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.23
........
€9.00-9.99 . . . . . .1.35
. . . . . . . . . . . . . . . . . .0.36
. . . . . . . . . . . . . . . . . .0.43
. . . . . . . . . . . . . . . . . . 0.74
. . . . . . . . . . . . . . . . . .0.70
. . . . . . . . . . . . . . . . . .1.81
. . . . . . . . . . . . . . . . . .8.0512.2313.75
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.10
.........
€10.00 or more . . . . . .0.26
total K
173.46195.53175.52188.77 178.17 190.18 201.51206.95 217.07203.44
...............................................................................................................................................................................
Admissions by price of ticket sold (in million)1
Excluding free admissions. 2010 and 2011 updated data;
1
L
M
In 2012, French films accounted for 38.9% of total revenue
and 40.3% of admissions. All European films accounted
for 51.9% of theater revenue, compared to 50.5% in 2011.
The market share of American films was 44.5% of revenue
and 42.7% of admissions in 2012. The market share offset
between admissions and receipts can be explained
by the gap between average receipt per admission for
French films (€6.19 in 2012) and for American films
(€6.69 in 2012). This gap is explained primarily by the fact
that the majority of films distributed in 3D, for which
ticket prices are generally higher, are American
(24 of 33 films released in 3D in 2012).
Box office receipts for theatrical releases are subject
to two taxes: reduced VAT (5.5% until the end of 2011,
7.0% since January, 1st 2012) and the TSA admission tax
which helps finance the CNC’s Support Fund (10.72%).
After subtracting these taxes, the receipts, or base return,
is split between exhibitor and distributor, according to rental
rates mutually agreed upon for each film and venue.
Revenue going to the distributor is calculated by multiplying
the rental rate by the base return.
Similarly, SACEM receives revenue for the public use
of film music. Under an agreement between the Fédération
Nationale des Cinémas Français (FNCF) and SACEM,
the exhibitor must pay SACEM 1.515% of the base return
if the exhibitor is a member of FNCF and 2.02% of the base
return otherwise. For the purposes of this report, box-office
receipts are broken down using a single percentage
(1.515%).
European
French
filmsAmericanother
films(non-French)
films
films
2003 . . . . . . . .34.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.3
. . . . . . . . . . . . . . . . . . . . . . . . . .52.97.3
...........................
. . . . . . . .38.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.4
. . . . . . . . . . . . . . . . . . . . . . . . . .48.33.9
...........................
2004 . . . . . . . .36.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . .15.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . .46.51.6
...........................
2005 . . . . . . . .44.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.8
. . . . . . . . . . . . . . . . . . . . . . . . . .44.82.0
...........................
2006 . . . . . . . . 36.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . .50.21.7
...........................
2007 . . . . . . . .45.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.1
. . . . . . . . . . . . . . . . . . . . . . . . .44.01.7
...........................
2008 . . . . . . . .35.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.6
. . . . . . . . . . . . . . . . . . . . . . . . . . 51.63.2
...........................
2009 . . . . . . . .33.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . .14.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . .50.01.3
...........................
2010 . . . . . . . .39.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . .10.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.42.1
...........................
2011 . . . . . . . .38.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . .12.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . .44.53.6
...........................
2012 L
Box office market shares (%)1
1
2010 and 2011 updated data;
20082009 2010
20112012
(in millions of €)
admission tax 122.44132.53140.31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147.29139.97
....................................
................................................................................................................
VAT 60.5065.4769.3172.7586.08
................................................................................................................
SACEM2 14.5315.7316.6517.4516.31
. . . .437.72473.06496.87
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527.77489.35
.....................................
distributors 3 ................................................................................................................
exhibitors 3 507.04549.61585.78608.67573.92
................................................................................................................
box-office receipts 1,142.211,236.411,308.921,373.921,305.63
(in %)
admission tax 10.7210.7210.7210.7210.72
................................................................................................................
................................................................................................................
VAT 5.305.305.305.296.59
................................................................................................................
SACEM2 1.271.271.271.271.25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.9638.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.48
...........
distributors 3 38.3238.26
................................................................................................................
exhibitors 3 44.3944.4544.7544.3043.86
................................................................................................................
box-office receipts 100.00100.00100.00100.00100.00
M
Breakdown of box office receipts1
1
2
3
1.515% box-office receipts excluding VAT and TSA.
Before taxes.
title
01
releaseadmissions
director
date country1(million) 2
Theatrical Releases
The 200 top grossing films since 1945
...............................................................................................................................................................................................................................................
42 . . . . . . . . . . . Side
. . . . . . . . . .Story
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Wise,
. . . . . . . . . . . . J.
. . . . Robbins
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1962
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.76
........
West
Asterix and Obelix vs. Caesar
C. Zidi
1999
FR/DE/IT
8.78
43 . . . . . . . . .Great
. . . . . . . . . . . .Escape
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Walsh
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1963
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.76
........
The
44 . . . . . . . . . . .Are
. . . . . . . Not
. . . . . . . . Angels
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.
. . . . . Esway
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1947
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.65
........
They
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.P.
. . . . . . . .Jeunet
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2001
. . . . . . . . . . . . . . . . . . . . . . . .FR/DE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.52
........
45 Amélie
In bold, the films that have entered the top grossing films for the first time in 2012.
1
AT: Austria / AU: Australia / BE: Belgium / CH: Switzerland / CZ: Czech Republic /
DE: Germany / ES: Spain / FR: France / GB: United Kingdom / IT: Italy / MX: Mexico /
NZ: New Zealand / RU: Russia / US: United States / ZA: South Africa.
2
Cumulated admissions as of their release through December 31, 2012.
Source: CNC.
title
director
41 release
admissions
46 . . . . . . . . .Chorus
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . .Barratier
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2004
. . . . . . . . . . . . . . . . . . . . . . . .FR/CH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.47
........
The
47 ...............................................................................................................................................................................................................................................
48 ...............................................................................................................................................................................................................................................
The Great Dictator
C. Chaplin
1945
US
8.31
For Whom the Bell Tolls S. Wood
1947
US
8.27
Nothing to Declare
D. Boon
8.13
49 ...............................................................................................................................................................................................................................................
50 ...............................................................................................................................................................................................................................................
51 ...............................................................................................................................................................................................................................................
52 ...............................................................................................................................................................................................................................................
Violettes impériales (Original title: Violetas Imperiales)
R. Pottier
2011
FR/BE
1952
FR/ES
8.13
The Visitors II: Corridors of Time
J.M. Poiré
1998
FR
8.04
Little Indian, Big City
H. Palud
1994
FR
7.89
1 Titanic
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Cameron
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1998
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.77
..........
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.
. . . . . .Disney
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1946
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.84
........
53 Pinocchio
2 ...............................................................................................................................................................................................................................................
54 3 . . . . . . . . .Intouchables
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E.
. . . . .Tolédano,
. . . . . . . . . . . . . . . . . . . . .O.
. . . . .Nakache
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2011
. . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.44
..........
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . . Buck,
. . . . . . . . . . . . .K.
. . . . .Lima
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1999
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.82
.......
55 Tarzan
4 . . . . . . . . . . . .Look
. . . . . . . . . . Now:
. . . . . . . . . . . We’re
. . . . . . . . . . . . Being
. . . . . . . . . . . . Shot
. . . . . . . . . . At
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Oury
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1966
. . . . . . . . . . . . . . . . . . . . . . . .FR/GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.27
..........
Don’t
56 ...............................................................................................................................................................................................................................................
5 . . . . . . . . . . . .With
. . . . . . . . . the
. . . . . . . .Wind
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V.
. . . . .Fleming
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1950
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.72
..........
Gone
57 ...............................................................................................................................................................................................................................................
6 . . . . . . . . . . . Upon
. . . . . . . . . . . .a
. . .Time
. . . . . . . . . . in
. . . . .the
. . . . . . . West
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . .Leone
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1969
. . . . . . . . . . . . . . . . . . . . . . . .IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.87
..........
Once
58 ...............................................................................................................................................................................................................................................
7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Cameron
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2009
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.72
..........
Avatar
59 ...............................................................................................................................................................................................................................................
8 . . . . . . . . .Jungle
. . . . . . . . . . . . . Book
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.
. . . . . .Reitherman
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1968
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.70
..........
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B.
. . . . . Bird,
. . . . . . . . . . .J.
. . . . Pinkava
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2007
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.71
.......
60 Ratatouille
Welcome to the Sticks
D. Boon
2008
FR
20.41
Star Wars : Episode 1 – The Phantom Menace
G. Lucas
1999
US
7.83
...............................................................................................................................................................................................................................................
The Gendarme of Saint-Tropez
J. Girault
1964
FR/IT
7.81
Ice Age: Dawn of the Dinausaurs
C. Saldanha
2009
US
7.80
The Count of Monte Cristo
R. Vernay
1955
FR/IT
7.78
The Sixth Sense
M. Night Shyamalan
2000
US
7.74
9 . . . . . . . . Dalmatians
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.
. . . . . .Disney
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1961
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.68
..........
101
61 ...............................................................................................................................................................................................................................................
10 . . . . . . . . . . . . . . . and
. . . . . . . . .Obelix
. . . . . . . . . . . . .Meet
. . . . . . . . . . . Cléopâtre
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.
. . . . . Chabat
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2002
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.40
..........
Asterix
62 ...............................................................................................................................................................................................................................................
The Fifth Element
L. Besson
1997
FR
7.70
Harry Potter and the Goblet of Fire
M. Newell
2005
GB
7.66
11 . . . . . . . . .Ten
. . . . . . . Commandments
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.B.
. . . . . . . . . DeMille
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1958
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.24
..........
The
63 ...............................................................................................................................................................................................................................................
12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.
. . . . . .Wyler
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1960
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.86
..........
Ben-Hur
64 ...............................................................................................................................................................................................................................................
13 . . . . . . . . .Visitors
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.M.
. . . . . . . . . .Poiré
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1993
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.67
..........
The
65 ...............................................................................................................................................................................................................................................
14 ...............................................................................................................................................................................................................................................
The Bridge on the River Kwai
D. Lean
1957
GB
13.48
66 ...............................................................................................................................................................................................................................................
15 ...............................................................................................................................................................................................................................................
Cinderella
W. Disney
1950
US
13.22
67 ...............................................................................................................................................................................................................................................
16 ...............................................................................................................................................................................................................................................
The Little World of Don Camillo
J. Duvivier
1952
IT/FR
12.79
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Musker
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1993
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.31
.......
68 Aladdin
17 ...............................................................................................................................................................................................................................................
the AristoCats
W. Reitherman
1971
US
12.66
69 ...............................................................................................................................................................................................................................................
18 ...............................................................................................................................................................................................................................................
The Longest Day
Collectif
1962US
11.93
70 ...............................................................................................................................................................................................................................................
19 ...............................................................................................................................................................................................................................................
The Sucker
G. Oury
1965
FR/IT
11.74
71 ...............................................................................................................................................................................................................................................
20 ...............................................................................................................................................................................................................................................
Lady and the Tramp
W. Disney
1955
US
11.19
72 ...............................................................................................................................................................................................................................................
21 ...............................................................................................................................................................................................................................................
The Lion King
R. Aller, R. Minkoff
1994
US
A Clockwork Orange S. Kubrick
1972
GB
7.62
The Five Crazy Boys
C. Zidi
1971
FR
7.46
The Return of Don Camillo
J. Duvivier
1953
IT/FR
7.43
Would I Lie to You? 2
T. Gilou
2001
FR
7.41
The Lord of the Rings – The Return of the King
P. Jackson
2003
NZ
7.37
The Mad Adventures of Rabbi Jacob
G. Oury
1973
FR/IT
7.30
Dances With Wolves
K. Costner
1991
US
7.28
Peter Pan
W. Disney
1953
US
The Rescuers
Collectif
1977US
7.26
7.23
10.70
73 . . . . . . . . . . .de
. . . . . .Florette
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . .Berri
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1986
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.22
.......
Jean
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.
. . . . . .Disney
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1948
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.68
..........
22 Bambi
74 . . . . . . . . . .Wars
. . . . . . . . . . .:. . Episode
. . . . . . . . . . . . . . . . .III
. . . . .-. . The
. . . . . . . . Revenge
. . . . . . . . . . . . . . . . . .of
. . . . .the
. . . . . . . Sith
. . . . . . . . . . . . . . . . . . . . . G.
. . . . . Lucas
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2005
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.20
.......
Star
23 ...............................................................................................................................................................................................................................................
Taxi 2
G. Krawczyk
2000
FR
10.30
75 . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.
. . . . . Adamson,
. . . . . . . . . . . . . . . . . . . . . V.
. . . . .Jenson
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2004
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.14
.......
Shrek
24 ...............................................................................................................................................................................................................................................
Three Men and a Craddle
C. Serreau
1985
FR
10.25
76 . . . . . . . . . . . . . . . . . and
. . . . . . . . .Delilah
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.B.
. . . . . . . . . DeMille
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1951
. . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.12
.......
Samson
25 ...............................................................................................................................................................................................................................................
Friends Forever
P. Leconte
2006
FR
10.23
77 . . . . . . . . . . .of
. . . . .Arc
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V.
. . . . .Fleming
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1949
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.09
.......
Joan
26 ...............................................................................................................................................................................................................................................
The guns of Navarone
J. Lee Thompson
1961
US
10.18
78 . . . . . . . . . .de
. . . . . .fête
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Tati
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1949
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.09
.......
Jour
27 ...............................................................................................................................................................................................................................................
War of the Buttons
Y. Robert
1962
FR
10.01
79 ...............................................................................................................................................................................................................................................
28 ...............................................................................................................................................................................................................................................
Les Misérables
J.P. Le Chanois, J.P. Dreyfus
1958
FR/IT
9.97
80 ...............................................................................................................................................................................................................................................
29 ...............................................................................................................................................................................................................................................
Doctor Zhivago
D. Lean
1966
US
9.82
81 ...............................................................................................................................................................................................................................................
30 ...............................................................................................................................................................................................................................................
20,000 Leagues Under the Sea
R. Fleischer
1955
US
9.62
82 ...............................................................................................................................................................................................................................................
Harry Potter and the Prisonner of Azkaban
A. Cuaron
2004
GB
7.09
The Lord of the Rings – The Two Towers
P. Jackson
2002
NZ
7.08
The Goat
F. Veber
1981
FR/MX
7.08
Monsieur Vincent
M. Cloche
1947
FR
7.06
31 ...............................................................................................................................................................................................................................................
The Greatest Show on Earth
C.B. DeMille
1953
US
9.49
83 . . . . . . . . .Magnificent
. . . . . . . . . . . . . . . . . . . . . . . . Seven
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Sturges
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1961
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.04
........
The
32 ...............................................................................................................................................................................................................................................
E.T. the Extra-Terrestrial
S. Spielberg
1982
US
9.42
84 . . . . . . . . . . . . Affairs
. . . . . . . . . . . . . . .in
. . . . .Versailles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . .Guitry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1954
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.99
........
Royal
33 ...............................................................................................................................................................................................................................................
Harry Potter and the Sorcerer’s Stone
C. Colombus
2001
US
9.34
85 . . . . . . . . .Exchange
. . . . . . . . . . . . . . . . . . . .Student
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Girault
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1967
. . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.99
........
The
34 ...............................................................................................................................................................................................................................................
The Dinner Game
F. Veber
1998
FR
9.25
86 ...............................................................................................................................................................................................................................................
35 ...............................................................................................................................................................................................................................................
Finding Nemo
A. Stanton, L. Unkrich
2003
US
9.21
87 ...............................................................................................................................................................................................................................................
36 ...............................................................................................................................................................................................................................................
The Big Blue
L. Besson
1988
FR
9.19
88 ...............................................................................................................................................................................................................................................
37 ...............................................................................................................................................................................................................................................
The Bear
J.J. Annaud
1988
FR
9.14
89 ...............................................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . .Jaeckin
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1974
. . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.89
........
38 Emmanuelle
90 ...............................................................................................................................................................................................................................................
39 ...............................................................................................................................................................................................................................................
91 ...............................................................................................................................................................................................................................................
40 ...............................................................................................................................................................................................................................................
The Cow and I
H. Verneuil
1959
FR/IT
8.85
Harry Potter and the Chamber of Secrets
C. Colombus
2002
US
8.80
The Lord of the Rings – The Fellowship of the Ring
P. Jackson
2001
NZ
6.96
The Wages of Fear
H.G. Clouzot
1953
FR/IT
6.95
Michel Strogoff
C. Gallone
1956
FR/IT
6.87
The Gendarme Gets Married
J. Girault
1968
FR/IT
6.83
The Hunchback of Notre-Dame
K. Wise, G. Trousdale
1996
US
6.81
Asterix at the Olympic Games
F. Forestier, T. Langmann
2008
FR/DE/ES/IT
6.80
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . .Mendes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2012
. . . . . . . . . . . . . . . . . . . . . . . .GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.80
........
92 Skyfall
93 . . . . . . . . . . . . . . . . Mission
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M.
. . . . . . de
. . . . . .Canonge
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1946
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.78
........
Special
94 . . . . . . . . . . . . . . . la
. . . . .Tulipe
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christian-Jaque
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1952FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.74
.......
Fanfan
title
releaseadmissions
director
release
title
director
admissions
date
country1(million) 2
95 ...............................................................................................................................................................................................................................................
The Exorcist
W. Friedkin
1974
US
6.70
149 ...............................................................................................................................................................................................................................................
96 ...............................................................................................................................................................................................................................................
The Fox and the Hound
A. Stevens
1981
US
6.70
150 ...............................................................................................................................................................................................................................................
Rambo: First Blood Part II
G.P. Cosmatos
1985
US
The Hunchback of Paris
A. Hunebelle
1959
FR/IT
5.85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Hamilton
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1965
. . . . . . . . . . . . . . . . . . . . . . . .GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.68
........
97 Goldfinger
151 ...............................................................................................................................................................................................................................................
5.85
The Wing and the Thigh
C. Zidi
1976
FR
5.84
98 ...............................................................................................................................................................................................................................................
The Three Brothers
D. Bourdon, B. Campan
1995
FR
6.67
152 . . . . . . . . . . . . The
. . . . . . . . Fateful
. . . . . . . . . . . . . . . .Years
. . . . . . . . . . . of
. . . . . an
. . . . . .Empress
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E.
. . . . .Marischka
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1958
. . . . . . . . . . . . . . . . . . . . . . . .AT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.79
........
Sissi:
99 ...............................................................................................................................................................................................................................................
We Will All Go to Paris
J. Boyer
1950
FR
6.66
153 . . . . . . . . . . Weddings
. . . . . . . . . . . . . . . . . . . . .and
. . . . . . . .a
. . . Funeral
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M.
. . . . . . Newell
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1994
. . . . . . . . . . . . . . . . . . . . . . . .GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.78
........
Four
100 ...............................................................................................................................................................................................................................................
Manon of the Spring
C. Berri
1986
FR
6.65
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T.
. . . . Bancroft,
. . . . . . . . . . . . . . . . . . . . .B.
. . . . .Cook
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1998
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.77
........
154 Mulan
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E.
. . . . .Marischka
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1956
. . . . . . . . . . . . . . . . . . . . . . . .AT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.64
........
101 Sissi
155 . . . . . . . . . .in
. . . . .Black
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B.
. . . . . Sonnenfeld
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1997
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.76
........
Men
102 ...............................................................................................................................................................................................................................................
6.63
156 . . . . . . . . . . Noon
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F.
. . . . .Zinnemann
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1952
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.75
........
High
103 . . . . . . . Age:
. . . . . . . . . .The
. . . . . . . .Melt
. . . . . . . . . .Down
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . .Saldanha
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2006
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.63
........
Ice
157 . . . . . . . . . . . . . . . . . . Nuts
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . .Zidi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1972
. . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.74
.......
Stadium
104 . . . . . . . . . . . .Poets
. . . . . . . . . . . .Society
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P.
. . . . .Weir
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1989
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.60
........
Dead
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Vernay
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1951
. . . . . . . . . . . . . . . . . . . . . . .FR/ES
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.74
.......
158 Andalousie
Ice Age: Continental Drift
M.Thurmeier, S. Martino
2012
US
105 . . . . . . . . . . . . . . . . . . .Beauty
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . W.
. . . . . .Disney
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1959
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.59
........
Sleeping
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T.
. . . . Young
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1965
. . . . . . . . . . . . . . . . . . . . . . . .GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.73
........
159 Thunderball
106 ...............................................................................................................................................................................................................................................
Jurassic Park
S. Spielberg
1993
US
6.53
160 ...............................................................................................................................................................................................................................................
107 ...............................................................................................................................................................................................................................................
Pirates of the Caribbean: Dead Man’s Chest
G. Verbinski
2006
US
6.52
161 ...............................................................................................................................................................................................................................................
108 ...............................................................................................................................................................................................................................................
Harry Potter and the Deathly Hallows: Part 2
D. Yates
2011
GB
6.52
162 ...............................................................................................................................................................................................................................................
Guardian Angels
J.M. Poiré
1995
FR
5.73
The Battle of the Rails
R. Clément
1946
FR
5.73
Going Places
B. Blier
1974
FR
5.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Pires
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1998
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.49
........
109 Taxi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Kleiser
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1978
. . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.72
........
163 Grease
110 ...............................................................................................................................................................................................................................................
Rain Man
B. Levinson
1989
US
6.48
164 ...............................................................................................................................................................................................................................................
111 ...............................................................................................................................................................................................................................................
Robin Hood
W. Reitherman
1974
US
6.47
165 ...............................................................................................................................................................................................................................................
112 ...............................................................................................................................................................................................................................................
Star Wars
G. Lucas
1977
US
6.46
166 ...............................................................................................................................................................................................................................................
113 ...............................................................................................................................................................................................................................................
Sissi: The Young Empress
E. Marischka
1957
AT
6.43
167 ...............................................................................................................................................................................................................................................
114 ...............................................................................................................................................................................................................................................
From Here to Eternity
F. Zinnemann
1954
US
6.40
168 ...............................................................................................................................................................................................................................................
115 ...............................................................................................................................................................................................................................................
Arthur and the Invisibles
L. Besson
2006
FR
6.40
169 ...............................................................................................................................................................................................................................................
116 ...............................................................................................................................................................................................................................................
Raiders of the Lost Ark
S. Spielberg
1981
US
6.40
170 ...............................................................................................................................................................................................................................................
117 ...............................................................................................................................................................................................................................................
My Wife’s Husband
G. Grangier
1963
FR/IT
6.40
171 . . . . . . . . . . . . . . . .of
. . . . .the
. . . . . . .Caribbean:
. . . . . . . . . . . . . . . . . . . . . . .At
. . . . .World’s
. . . . . . . . . . . . . . . End
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Verbinski
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2007
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.64
........
Pirates
The Third Man
C. Reed
1949
GB
Lawrence of Arabia
D. Lean
1963
GB
5.72
5.71
Let’s Get Those English Girls
M. Lang
1976
FR
5.70
5.70
The Hunchback of Notre Dame
J. Delannoy
1956
FR/IT
The Truth
H.G. Clouzot
1960
FR/IT
5.70
Indiana Jones and the Temple of Doom
S. Spielberg
1984
US
5.69
The Matrix Reloaded
L. Wachowski, A. Wachowski 2003
US
5.66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . . Raimi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2002
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.38
........
118 Spider-Man
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M.
. . . . . . Gabriel,
. . . . . . . . . . . . . . . . .E.
. . . . .Goldberg
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1995
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.63
........
172 Pocahontas
119 6.37
173 . . . . . . . . . . . .Russia
. . . . . . . . . . . . . .with
. . . . . . . . . .Love
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T.
. . . . Young
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1964
. . . . . . . . . . . . . . . . . . . . . . . .GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.62
........
From
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Thorpe
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1952
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.36
........
120 Ivanhoe
174 . . . . . . . . . .Wars:
. . . . . . . . . . . . Episode
. . . . . . . . . . . . . . . . .II
. . .. . . Attack
. . . . . . . . . . . . . . of
. . . . .the
. . . . . . . Clones
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Lucas
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2002
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.62
........
Star
121 ...............................................................................................................................................................................................................................................
The Good, the Bad and the Ugly
S. Leone
1968
IT
6.34
175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Day
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Emmerich
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1996
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.61
........
Independence
122 ...............................................................................................................................................................................................................................................
Spider-Man 3
S. Raimi
2007
US
6.32
176 . . . . . . . . . . . Nicolas
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . L.
. . . . .Tirard
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2009
. . . . . . . . . . . . . . . . . . . . . . . .FR/BE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.60
........
Petit
123 ...............................................................................................................................................................................................................................................
Quo Vadis
M. Le Roy
1953
US
6.31
177 . . . . . . . . . . . . . . . . . . . . .of
. . . . .Grandeur
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Oury
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1971
. . . . . . . . . . . . . . . . . . . . . . .FR/DE/ES
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.57
........
Delusions
124 ...............................................................................................................................................................................................................................................
My Father’s Glory
Y. Robert
1990
FR
6.30
178 . . . . . . . . . . . of
. . . . . the
. . . . . . . .Goldsmiths
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H.G.
. . . . . . . . . .Clouzot
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1947
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.56
........
Quay
125 ...............................................................................................................................................................................................................................................
The Gendarme and the Creatures from Outer Space J. Girault
1979
FR
6.28
179 . . . . . . . . .Brain
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Oury
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1969
. . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.55
........
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . . Spielberg
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1976
. . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.26
........
126 Jaws
180 . . . . . . . . .Little
. . . . . . . . . . .Bather
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Dhéry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1968
. . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.54
........
The
Pastoral Symphony
J. Delannoy
1946
FR
...............................................................................................................................................................................................................................................
127 ...............................................................................................................................................................................................................................................
Indiana Jones and the Last Crusade S. Spielberg
1989
US
6.25
181 . . . . . . . . . . . . .the
. . . . . . . Third
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . .Miller
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2007
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.54
........
Shrek
128 ...............................................................................................................................................................................................................................................
Harry Potter and the Order of the Phoenix
D. Yates
2007
GB
6.17
182 . . . . . . . . . . Story
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.
. . . . . Hiller
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1971
. . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.51
........
Love
129 ...............................................................................................................................................................................................................................................
Marche à l’ombre
M. Blanc
1984
FR
6.17
183 . . . . . . . . .Incredibles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B.
. . . . . Bird
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2004
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.50
........
The
130 ...............................................................................................................................................................................................................................................
Pas si bête
A. Berthomieu
1946
FR
6.17
184 . . . . . . . . .Gendarme
. . . . . . . . . . . . . . . . . . . . .in
. . . . .New
. . . . . . . . . York
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Girault
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1965
. . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.50
........
The
131 ...............................................................................................................................................................................................................................................
The Charterhouse of Parma
Christian-Jaque
1948FR
6.15
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F.
. . . . .Onteniente
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2006
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.47
........
185 Camping
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . . Berri
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1993
. . . . . . . . . . . . . . . . . . . . . . . .FR/BE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.15
.......
132 Germinal
186 . . . . . . . . . . . .White
. . . . . . . . . . . . Lies
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Canet
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2010
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.45
........
Little
133 ...............................................................................................................................................................................................................................................
The Sword in the Stone
W. Reitherman
1964
US
6.14
187 . . . . . . . . .of
. . . . .Aces
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Oury
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1982
. . . . . . . . . . . . . . . . . . . . . . . .FR/DE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.45
........
Ace
134 ...............................................................................................................................................................................................................................................
Mr. Orchid
R. Clément
1946
FR
6.14
188 . . . . . . . . . . . . . . . . .Beauty
. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G.
. . . . . Sidney
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1946
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.44
........
Bathing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C.
. . . . . Chaplin
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1952
. . . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.13
.......
135 Limelight
189 . . . . . . . .Hulot’s
. . . . . . . . . . . . . . .Holiday
. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Tati
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1953
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.44
........
Mr.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E.
. . . . . Molinaro
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1967
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.12
.......
136 Oscar
190 . . . . . . . . .Cranes
. . . . . . . . . . . . . . are
. . . . . . . .Flying
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M.
. . . . . . Kalatosov
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1958
. . . . . . . . . . . . . . . . . . . . . . . .RU
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.41
........
The
137 ...............................................................................................................................................................................................................................................
Taxi 3
G. Krawczyk
2003
FR
6.11
191 . . . . . . . . .Birdcage
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E.
. . . . .Molinaro
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1978
. . . . . . . . . . . . . . . . . . . . . . . .IT/FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.41
........
The
138 ...............................................................................................................................................................................................................................................
Harry Potter and the Half-Blood Prince
D. Yates
2009
GB
6.06
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . .Guitry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1955
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.41
........
192 Napoléon
139 ...............................................................................................................................................................................................................................................
Harry Potter and the Deathly Hallows: Part 1
D. Yates
2010
GB
6.04
193 . . . . . . . . .Adventures
. . . . . . . . . . . . . . . . . . . . . . .of
. . . . .Tintin
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.
. . . . .Spielberg
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2011
. . . . . . . . . . . . . . . . . . . . . . .US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.38
........
The
140 ...............................................................................................................................................................................................................................................
Terminator 2: Judgment Day
J. Cameron
1991
US
5.99
194 . . . . . . . . . . . . .Mama,
. . . . . . . . . . . . . . the
. . . . . . . .Maid
. . . . . . . . . . .and
. . . . . . . .I
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J.P.
. . . . . . . .Le
. . . . . .Chanois,
. . . . . . . . . . . . . . . . . . J.P.
. . . . . . . . Dreyfus
. . . . . . . . . . . . . . . . . . . . . . 1954
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.37
........
Papa,
141 ...............................................................................................................................................................................................................................................
Midnight Express
A. Parker
1978
GB
5.97
195 . . . . . . . . . . . . . . . . . . . . .Swallow:
. . . . . . . . . . . . . . . . . . .The
. . . . . . . .Battle
. . . . . . . . . . . . . for
. . . . . . .Heavy
. . . . . . . . . . . . . Wate
. . . . . . . . . . . . . . . . . . . . . . . . . J.
. . . . Dreville
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1948
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.37
........
Operation
142 ...............................................................................................................................................................................................................................................
The Gods Must Be Crazy
J. Uys
1983
ZA
5.95
196 . . . . . . . . .Three
. . . . . . . . . . . .Musketeers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.
. . . . . Hunebelle
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1953
. . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.36
........
The
143 ...............................................................................................................................................................................................................................................
To Die of Love
A. Cayatte
1971
FR/IT
5.91
197 . . . . . . . . Spécialistes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P.
. . . . .Leconte
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1985
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.32
........
Les
144 ...............................................................................................................................................................................................................................................
Who Framed Roger Rabbit
R. Zemeckis
1988
US
5.90
198 . . . . . . . . .Closet
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F.
. . . . .Veber
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2001
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.30
........
The
145 ...............................................................................................................................................................................................................................................
Crocodile Dundee
P. Faiman
1987
AU
5.89
199 . . . . . . . . . . . . . . . . . On
. . . . . . .the
. . . . . . . Trail
. . . . . . . . . . of
. . . . .the
. . . . . . . .Marsupilami
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A.
. . . . . Chabat
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2012
. . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.30
........
HOUBA!
146 ...............................................................................................................................................................................................................................................
My New Partner
C. Zidi
1984
FR
5.88
200 . . . . . . . . .Grand
. . . . . . . . . . . . .Maneuver
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R.
. . . . . Clair
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1955
. . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.30
........
The
147 ...............................................................................................................................................................................................................................................
War and Peace
K. Vidor
1956
US
5.88
148 ...............................................................................................................................................................................................................................................
The Story of Dr. Wassell
C.B. DeMille
1946
US
5.87
Camping 2 by Fabien Onteniente. © Pathé Distribution.
Les Hommes de l’ombre. © France Télévision / Bernard Barbereau.
Famille d’accueil. © France 3.
Tout ce qui brille by Géraldine Nakache and Hervé Mimran. © Frédéric Barraja / Pathé Distribution.
Scènes de ménages. © M6.
Mademoiselle Chambon by Stéphane Brizé. © Stéphane Brizé / Rezo Films.
Mammuth by Gustav Kerven and Benoît Delépine.
© Ad Vitam.
02
02
les films et les fictions
Films and Fiction on Television
à la télévision
In 2012, the number of films airing on all television channels was up to 2,420 films.
During
hours,
films aired
declinedhistoriques
by 6.4% compared
to 2011.
Le nombre de
filmsprimetime
diffusés sur
les chaînes
hertziennes
est stable
en 2009 (+0,5 %)
The traditional national
channels
scheduled
822 de
nights
of fiction
inprogresse
2012, i.e., nine
more nights than in 2011.
tandis
que celui
des chaînes
la TNT
gratuite
de 10,4 %.
In 2012,
viewers
an average
of 59 historiques
hours of feature
films
and 284 4
hours
fiction
En première
partie
soirée,watched
les chaînes
hertziennes
en clair
proposent
filmsof
detelevision
plus en 2009
qu’en 2008.
on the free-to-air
national
channelsregarde,
(traditional
and digital
television,
DTT)confondues,
across all time slots.
En 2009, (FTA)
chaque
téléspectateur
en moyenne
etterrestrial
toutes tranches
horaires
45 heures de films de cinéma (46 heures en 2008) et 222 heures
de fictions télévisuelles (227 heures en 2008) sur les chaînes hertziennes historiques.
Pièce montée by Denys Granier-Deferre.
© Diaphana Films.
Nos chers voisins. © TF1.
Ainsi soient-ils. © Zadig Productions / Arte France.
02
FEATURE FILMS ON TELEVISION
A
Regulations
Under the Freedom of Communication Act of September 30,
1986, publishers for non-cinema-oriented services and
pay-per-view services may broadcast no more than 192
feature-length films in a calendar year. This number is
further restricted to 144 works when all or part of the
broadcast takes place between 8:30 p.m. and 10:20 p.m.
In addition, said services are permitted to air 52 additional
Art House films which are not to be counted when
broadcast during primetime hours. Movie channels may
not air more than 500 different feature-length films per
year and none of the films may be aired more than
35 times in a three consecutive week period.
Rise of overall selection but decrease
in public national channel content
In 2012, film content on television (FTA national channels
and Canal+) increased slightly, airing 2,420 feature films
(2,399 in 2011). 84.7% of these films were scheduled on
FTA national channels, which aired 2,049 films, 17 more
than in 2011. FTA public channels (France Télévisions, Arte
and LCP-AN) aired 901 films in 2012 (-21 films compared
to 2011) and FTA private channels (TF1, M6 and FTA DTT
private channels) aired 1,148 films (+38 films compared
to 2011).
The number of films airing on the France Télévisions
group channels (excluding France Ô) decreased for
the third consecutive year, down by 2.8% from 2011
to 514 feature films in 2012. This decline was due to
France 2, France 3 and France 5, which aired 12.4%,
3.0% and 83.3% fewer films than in 2011, respectively,
while France 4 scheduled 22 more films. Note that
France 3 is the only channel that took advantage of
the additional broadcasting possibilities provided for by
the regulations, in other words, programming Art House
recommended films (up to 52 films per year).
In total, 21.2% of films aired were scheduled by
France Télévisions in 2012 (22.1% in 2011).
Arte’s film content decreased by 6 films in 2012 to
378 films aired. Arte remained the free channel airing
the most films. Remember that as a Franco-German
channel, Arte is not subject to French regulation.
910 feature films were aired in 2012 on FTA DTT private
channels (+41 films compared to 2011), i.e., the highest
level since its creation in 2005. Film content for FTA DTT
private channels represented 37.6% of total films shown
on television. NT1 and TMC scheduled the most films in
2012 (168 and 156, respectively). Gulli, NT1, W9 and
Direct 8/D8 noticeably expanded their film content
compared to 2011 (+15 films each for the first three
and +12 films for Direct 8/D8), while Direct Star/D17
scheduled 58 less films during the same period. Since
December 12, 2012, six new HD channels arrived on FTA
DTT private channels: 6ter, Chérie 25, HD1, l’Equipe 21,
Numéro 23 and RMC Découverte. By the end of 2012,
only three of these channels had scheduled feature films
(6ter, Chérie 25 and HD1: 28 films for 37 broadcasts).
TF1 reduced its film content in 2012, reaching its lowest
level since 1985 to 135 films, 3 less than in 2011 and
56 less than in 2003. M6 content was stable with
103 films in 2012, just as in 2011.
After five consecutive years of decline, Canal+ content
increased slightly. The channel scheduled 371 films in
2012, i.e., 4 more than in 2011 but 91 fewer than in 2006.
11.8% of films shown by FTA private channels were
premieres (136 films in 2012, 139 in 2011), which means
that they were scheduled for the first time on a broadcast
network. Such a low share is due to FTA DTT private
channels that show primarily stock films: on these channels,
73.8% of the films were scheduled on a broadcast
network for at least the fourth time in 2012. 64 films
premiered on FTA DTT private channels (61 films in 2011),
only 7.0% of the total. The share of film premieres on TF1
was slightly up in 2012 at 31.9% (30.4% in 2011),
while M6’s share decreased 6.8 points to 28.2%
(35.0% in 2011).
The share of film premieres reached 33.0% on public
national channels and 85.4% on Canal+ (317 films in 2012,
10 more films than in 2011). In 2012, France 2 scheduled
7 fewer film premieres than in 2011, as did France 3.
France 2 thus aired 36.2% of film premieres in 2012,
France 3 22.3% and Arte 47.1%.
In total, (FTA national channels and Canal+), 31.0% of films
aired on television were premieres (32.5% in 2011).
France Télévisions channels scheduled 60 French films
in first-run broadcasting (73 films in 2011), i.e., 51.3%
of their total film premieres. All channels taken together,
this share amounted to 41.5%. In 2012, American film
premieres represented 29.1% of film premieres on
television. This share amounted to 57.8% on FTA DTT
private channels, 37.2% on TF1 and 58.6 % on M6.
2003 20042005120062007200820092010 201120122
France 2 158164158153164144181171161141
...............................................................................................................................................................................................
France 3 209244238230243244243241231224
...............................................................................................................................................................................................
France 4 --
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
. . . . . . . . . . . . . . . . . . . . .81
. . . . . . . . . . . . . . . . . . . 99
. . . . . . . . . . . . . . . . . . 114
. . . . . . . . . . . . . . . . . . . .124
. . . . . . . . . . . . . . . . . . . . 117
. . . . . . . . . . . . . . . . . . . .125
. . . . . . . . . . . . . . . . . . . .147
......
France 5 8914059
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . . . . . 122
........................
France Télévisions 375
. . . . . . . . . . . . . . . . . . . . . . . . . .417445468506507557540529
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .514
......
Arte 269258270318316353330376384378
...............................................................................................................................................................................................
LCP-AN . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-23198999
................................................................................................................................................................
FTA public channels3 644675
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717789823869895925922901
..................................................................................................................................................
6ter ---------
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
....
Chérie 25 ---------3
...............................................................................................................................................................................................
Direct 8/D8 4 --
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
. . . . . . . . . . . . . . . . . . . 95
. . . . . . . . . . . . . . . . . . .112
. . . . . . . . . . . . . . . . . . . 127
. . . . . . . . . . . . . . . . . . . .129
. . . . . . . . . . . . . . . . . . . .125
. . . . . . . . . . . . . . . . . . . .123
. . . . . . . . . . . . . . . . . . . .135
......
Direct Star/D174 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-001
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . . . 63
. . . . . . . . . . . . . . . . . . 110
. . . . . . . . . . . . . . . . . . . . . .52
....
Gulli . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-008
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
. . . . . . . . . . . . . . . . . . . . 49
. . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . .64
. . . . . . . . . . . . . . . . . . . .79
....
HD1 ---------
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
....
NRJ12 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . . . . . .0
. . . . . . . . . . . . . . . . . 52142155142138149
........................................................................................................
NT1 --
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
. . . . . . . . . . . . . . . . . 121
. . . . . . . . . . . . . . . . . . . . 132
. . . . . . . . . . . . . . . . . . . .142
. . . . . . . . . . . . . . . . . . . .157
. . . . . . . . . . . . . . . . . . . .155
. . . . . . . . . . . . . . . . . . . .153
. . . . . . . . . . . . . . . . . . . .168
......
TMC --
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
. . . . . . . . . . . . . . . . . . . .115
. . . . . . . . . . . . . . . . . . . 123
. . . . . . . . . . . . . . . . . . . .137
. . . . . . . . . . . . . . . . . . . .160
. . . . . . . . . . . . . . . . . . . .148
. . . . . . . . . . . . . . . . . . . .153
. . . . . . . . . . . . . . . . . . . .156
......
W9 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-1976909999
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
. . . . . . . . . . . . . . . . . . . .128
. . . . . . . . . . . . . . . . . . . .143
......
FTA DTT private channels --
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .289
. . . . . . . . . . . . . . . . . . . .407
. . . . . . . . . . . . . . . . . . . . 518
. . . . . . . . . . . . . . . . . . . .707
. . . . . . . . . . . . . . . . . . . .788
. . . . . . . . . . . . . . . . . . . .817
. . . . . . . . . . . . . . . . . . . .869
. . . . . . . . . . . . . . . . . . . .910
......
TF1 191189191183190175188145138135
...............................................................................................................................................................................................
M6 170165173141148137125137103103
...............................................................................................................................................................................................
FTA private channels5 . . . . . 361
. . . . . . . . . . . . . . . . . . . .354
. . . . . . . . . . . . . . . . . . . .653
. . . . . . . . . . . . . . . . . . . .731
. . . . . . . . . . . . . . . . . . . .8561,019
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,1011,099
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,110
. . . . . . . . . . . . . . . . . . . 1,148
..........
FTA national channels 6 1,0051,0291,3701,5201,6791,8881,9962,0242,0322,049
...............................................................................................................................................................................................
Canal+ 400436436462454438406375367371
...............................................................................................................................................................................................
total 1,4051,4651,8061,982
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2,1332,3262,4022,3992,3992,420
.............................................................................................................
A
Number of films broadcasted on television
1
As of 2005, films airing on France 5 and Arte are counted for a full broadcast day.
Broadcast on FTA DTT private channels started on March 31, 2005.
2
Broadcast on FTA DTT private channels started on December 12, 2012: 6ter, Chérie 25 and HD1.
3
France Télévisions + Arte + LCP-AN.
4
On October 7, 2012, Direct 8 became D8 and Direct Star became D17.
5
FTA DTT private channels+ TF1 + M6.
6
FTA public channels + FTA private channels.
Note: Films shown on different channels during a single year are accounted for several times.
On Arte, Canal+ and FTA DTT private channels, if a film is broadcast on the same channel several
times during the same year, it is only counted once. Besides, a single film broadcast several times
over two consecutive years is accounted for in both year n and n+1.
Source: CNC-CSA.
02
B
C
2003 20042005120062007200820092010 201120122
Frequency of repeat broadcasting remained stable on
involved channels
France 5, Arte, Canal+ and all of the FTA DTT private
channels aired films multiple times. In total, they scheduled
1,817 films, which made up 4,290 broadcasts.
The frequency with which they were rebroadcast
remained stable overall. A film was aired on average
2.4 times in 2012 (as in 2011). Canal+, LCP-AN, Gulli and
Arte repeated films the most. Each film was scheduled
on average more than five times on Canal+ and LCP-AN,
and more than two times on Gulli and Arte. NT1, TMC and
W9 were the channels that repeated films the least
(fewer than 1.5 times on average). 45.9% of rebroadcasts
were French.
It should be noted that different channels can air
the same film during the same year. All channels taken
together, 8.8% of films were aired on two, even three
different channels a few months apart in 2012 (7.8% of
films in 2011). Furthermore, almost all of the channels
repeated the same films from one year to the next.
This practice is more prevalent on FTA DTT private channels.
Thus, 50.3% of films scheduled by W9 in 2012 had
already been broadcast by the channel in 2011. After W9,
the channels showing the most repeats between 2011
and 2012 were TMC (41.7%), NT1 (39.3%) and NRJ12
(38.3%).
Nearly 44% of films aired on television were French
In 2012, all channels taken together (FTA national
channels and Canal+), French films represented 43.6%
of film content on television. This share exceeded 50% on
France Télévisions group channels (52.9%), on Canal+
(53.1%), and on Chérie 25 (66.7%). Some FTA DTT private
channels mainly scheduled American films: W9 (45.5%),
NT1 (43.5%), Gulli (43.0%), NRJ12 (43.0%) and TMC
(42.3%). In total, transatlantic films represented 35.9%
of film content. Arte scheduled programming mainly
centered around non-French European films (40.2%),
even though these films were less than 30% of the
content of other channels.
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . 84141192237234192215237
................................................................................................................................................
France 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . .111407
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . . . . . 162
........................
France 5 8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911822839800743
......................................................................................
Arte 476436532587662
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-471
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
. . . . . . . . . . . . . . . . . . . . 35
. . . . . . . . . . . . . . . . . . . . 42
. . . . . . . . . . . . . . . . . . . .45
. . . . . . . . . . . . . . . . . . . .43
....
LCP-AN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
....
6ter ---------
...............................................................................................................................................................................................
Chérie 25 ---------5
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-132174213226242225213208
................................................................................................................................................................
Direct 8/D8 3 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-002
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
. . . . . . . . . . . . . . . . . . . .104
. . . . . . . . . . . . . . . . . . . . 112
. . . . . . . . . . . . . . . . . . . .170
. . . . . . . . . . . . . . . . . . . . . .88
....
Direct Star/D173 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . . . 33
. . . . . . . . . . . . . . . . . . . . 73
. . . . . . . . . . . . . . . . . .103
. . . . . . . . . . . . . . . . . . . .140
. . . . . . . . . . . . . . . . . . . .186
......
Gulli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
....
HD1 ---------
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
. . . . . . . . . . . . . . . . . . . . 251
. . . . . . . . . . . . . . . . . . . .244
. . . . . . . . . . . . . . . . . . . .229
. . . . . . . . . . . . . . . . . . . .204
. . . . . . . . . . . . . . . . . . . .219
......
NRJ12 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . .87151192188192200202201
...............................................................................................................................................
NT1 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-146197197202206206210206
................................................................................................................................................................
TMC . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . 34104104104104191192191
................................................................................................................................................
W9 . . . . . . . . . . . . . . . . . . . .4471,0231,3651,6772,2932,2672,3502,4072,361
......................................................................................................................................................................
FTA national channels . . . . .484
. . . . . . . . . . . . . . . . . . . . . .2,1252,2922,0792,0841,9471,9021,8241,8401,929
.........................................................................................................................................................................
Canal+ 2,255
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3,3153,444
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,7614,240
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4,169
. . . . . . . . . . . . . . . . . . . . .4,1744,2474,290
.................................................
total 2,7392,572
Number of films aired on channels showing repeat broadcasts
2003 20042005120062007200820092010 201120122
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-447098
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
. . . . . . . . . . . . . . . . . . . . 11698
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
. . . . . . . . . . . . . . . . . . . . 112
......
France 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
........................
France 5 65140776
...............................................................................................................................................................................................
Arte 172127202183193329301308276225
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-221
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . .30
. . . . . . . . . . . . . . . . . . . .20
....
LCP-AN ...............................................................................................................................................................................................
6ter ---------6
...............................................................................................................................................................................................
Chérie 25 ---------3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
. . . . . . . . . . . . . . . . . . . . 92
. . . . . . . . . . . . . . . . . .164
. . . . . . . . . . . . . . . . . . . .153
. . . . . . . . . . . . . . . . . . . .144
. . . . . . . . . . . . . . . . . . . . 112
. . . . . . . . . . . . . . . . . . . . 114
. . . . . . . . . . . . . . . . . . . .106
......
Direct 8/D8 3 --
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-0029
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
. . . . . . . . . . . . . . . . . . . .44
. . . . . . . . . . . . . . . . . . . . 62
. . . . . . . . . . . . . . . . . . . . 41
....
Direct Star/D173 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-005
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
. . . . . . . . . . . . . . . . . . . . 35
. . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . .65
. . . . . . . . . . . . . . . . . . . .88
....
Gulli ...............................................................................................................................................................................................
HD1 ---------7
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
. . . . . . . . . . . . . . . . . . . . 85
. . . . . . . . . . . . . . . . . . . . 98
. . . . . . . . . . . . . . . . . .101
. . . . . . . . . . . . . . . . . . . . . .88
. . . . . . . . . . . . . . . . . . . .92
....
NRJ12 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-5166897892868788
................................................................................................................................................................
NT1 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10681828789
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10394
..........................
TMC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
. . . . . . . . . . . . . . . . . . . 48
. . . . . . . . . . . . . . . . . . . . 46
. . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . 92
. . . . . . . . . . . . . . . . . . . .95
. . . . . . . . . . . . . . . . . . . .94
....
W9 --
. . . . . . . . . . . . . . . . . . . . 132
. . . . . . . . . . . . . . . . . . . .488
. . . . . . . . . . . . . . . . . . . .571
. . . . . . . . . . . . . . . . . . . .709
. . . . . . . . . . . . . . . . . . . .942
. . . . . . . . . . . . . . . . . . . .9821,0041,035
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .977
......
FTA national channels . . . . . 178
. . . . . . . . . . . . . . . . . . . .9391,008
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
. . . . . . . . . . . . . . . . . . . . 912
. . . . . . . . . . . . . . . . . . . .924
. . . . . . . . . . . . . . . . . . . .932
. . . . . . . . . . . . . . . . . . . .862
. . . . . . . . . . . . . . . . . . . .887
. . . . . . . . . . . . . . . . . . . 994
.......
Canal+ . . . . . 982
...............................................................................................................................................................................................
total 1,1601,0711,4961,4901,6211,8661,9141,8661,9221,971
B
Number of French films aired on channels showing repeat broadcasts
2
3
Source: CNC-CSA.
1
French films
American films
European films
other films
nb.%
nb.%
nb.%nb%
total
On FTA national channels (counting each film only once),
755 French films were aired in 2012, 35 less than in 2011.
French films accounted for 41.1% of film content,
compared to 43.0% in 2011. After a decline in 2011,
the number of American films increased in 2012 (+32 films
compared to 2011) to 678, 36.9% of the film content of
FTA national channels. In 2012, the share of European
films airing on FTA national channels remained stable at
19.0% (19.1% en 2011). At 349 films (-3 films compared to
2011), non-French European content remained high.
France 2 . . . . . . . .8459.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4028.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . . . . 7.8
. . . . . . . . . . . . . . . . . . . . . . . .6
. . . . . . . . . . . . . . . .4.3
. . . . . . . . . . . . . . . . . . . 141
......
France 3 . . . . . 12354.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7935.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
. . . . . . . . . . . . . . . . . . .8.9
. . . . . . . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . .0.9
. . . . . . . . . . . . . . . . . . .224
......
France 4 . . . . . . . .6443.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5235.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2013.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . . . . 7.5
. . . . . . . . . . . . . . . . . . .147
......
France 5 1
. . . . . . . . . . . . . . . . . . . . . . . .50.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2
.....................
. . . . . . . . . . . . . . . . . . . . . . . .52.9171
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.3
. . . . . . . . . . . . . . . . . . . . . . . 52
. . . . . . . . . . . . . . . . .10.1
. . . . . . . . . . . . . . . . . . . . . . . 19
. . . . . . . . . . . . . . . . . . .3.7514
.........................
Arte . . . . . 102
. . . . . . . . . . . . . . . . . . . 27.0
. . . . . . . . . . . . . . . . . . . . . . . .9725.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15240.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
. . . . . . . . . . . . . . . . . . . .7.1
. . . . . . . . . . . . . . . . . .378
......
LCP-AN 4
. . . . . . . . . . . . . . . . . . . . . . . .44.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11.14
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44.40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -9
.....................
FTA public channels2 . . . . . 37842.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26929.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20823.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
. . . . . . . . . . . . . . . . . . . 5.1
. . . . . . . . . . . . . . . . . . .901
......
. . . . . . . . . . . . . . . . . . . . . . . .38.55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38.53
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . 13
....
6ter 5
. . . . . . . . . . . . . . . . . . . . . . . .66.71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -3
.....................
Chérie 25 2
. . . . . . . .6245.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6044.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
. . . . . . . . . . . . . . . . . .8.9
. . . . . . . . . . . . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . .0.7
. . . . . . . . . . . . . . . . . . .135
......
Direct 8/D8 3 . . . . . . . .23
. . . . . . . . . . . . . . . .44.2
. . . . . . . . . . . . . . . . . . . . . . . .21
. . . . . . . . . . . . . . . .40.47
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.51
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.9
. . . . . . . . . . . . . . . . . . . . . 52
....
Direct Star/D173 . . . . . . . .33
. . . . . . . . . . . . . . . . 41.8
. . . . . . . . . . . . . . . . . . . . . . . 3443.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1215.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0
. . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . 79
....
Gulli . . . . . . . . . . . . . . . . . . . . . . . . 41.74
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.33
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . 12
....
HD1 5
. . . . . . . .5335.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6443.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2919.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . .2.0
. . . . . . . . . . . . . . . . . . .149
......
NRJ12 . . . . . . . .6639.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7343.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
. . . . . . . . . . . . . . . . .16.1
. . . . . . . . . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . .1.2
. . . . . . . . . . . . . . . . . . .168
......
NT1 . . . . . . . .65
. . . . . . . . . . . . . . . . 41.7
. . . . . . . . . . . . . . . . . . . . . . . 6642.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2516.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0
. . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . .156
......
TMC . . . . . . . .6344.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6545.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
. . . . . . . . . . . . . . . . . .9.8
. . . . . . . . . . . . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . .0.7
. . . . . . . . . . . . . . . . . . .143
......
W9 . . . . .377
. . . . . . . . . . . . . . . . . . . 41.4
. . . . . . . . . . . . . . . . . . . . .39343.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13214.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. . . . . . . . . . . . . . . .0.9
. . . . . . . . . . . . . . . . . . .910
......
FTA DTT private channels . . . . . . . .5943.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5339.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
. . . . . . . . . . . . . . . . . 17.0
. . . . . . . . . . . . . . . . . . . . . . . . . .0
. . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . .135
......
TF1 . . . . . . . .4543.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4038.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1716.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . .1.0
. . . . . . . . . . . . . . . . . . .103
......
M6 . . . . . . . . . . . . . . . . . . . 41.9
. . . . . . . . . . . . . . . . . . . . .486
. . . . . . . . . . . . . . . . . . .42.3
. . . . . . . . . . . . . . . . . . . . .172
. . . . . . . . . . . . . . . . . . .15.0
. . . . . . . . . . . . . . . . . . . . . . . . . .9
. . . . . . . . . . . . . . . .0.81,148
.........................
FTA private channels 4 . . . . .481
French films
American films
European films
other films
nb. %nb. %nb. %nb. %
total
FTA national channels5 . . . . .859
. . . . . . . . . . . . . . . . . . . 41.9
. . . . . . . . . . . . . . . . . . . . .755
. . . . . . . . . . . . . . . . . . .36.8
. . . . . . . . . . . . . . . . . . . . .380
. . . . . . . . . . . . . . . . . . .18.5
. . . . . . . . . . . . . . . . . . . . . . . 55
. . . . . . . . . . . . . . . . . . .2.72,049
.........................
. . . . . 19753.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11430.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5013.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . .2.7
. . . . . . . . . . . . . . . . . . .371
......
Canal+ . . . . . 65649.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41931.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22416.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . .2.9
. . . . . . . . . . . . . . .1.338
...........
20052 . . . . . . . . . . . . . . . . . . . . . . . .44.2514
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35.125917.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . 3.1
. . . . . . . . . . . . . . .1.465
...........
2006 647
. . . . . .71945.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55134.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
. . . . . . . . . . . . . . . . . . . 17.2
. . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . .2.5
. . . . . . . . . . . . . . .1.580
...........
2007 . . . . . 76444.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62636.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
. . . . . . . . . . . . . . . . . . . .17.1
. . . . . . . . . . . . . . . . . . . . . . 48
. . . . . . . . . . . . . . . . . . .2.8
. . . . . . . . . . . . . . .1.734
...........
2008 . . . . . 80844.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65535.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326
. . . . . . . . . . . . . . . . . . . 17.8
. . . . . . . . . . . . . . . . . . . . . . . 42
. . . . . . . . . . . . . . . . . . .2.3
. . . . . . . . . . . . . . .1.831
...........
2009 . . . . . 76942.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66036.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32317.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
. . . . . . . . . . . . . . . . . . . 4.1
. . . . . . . . . . . . . . .1.827
...........
2010 . . . . . 79043.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64635.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .352
. . . . . . . . . . . . . . . . . . . 19.1
. . . . . . . . . . . . . . . . . . . . . . . 51
. . . . . . . . . . . . . . . . . . .2.8
. . . . . . . . . . . . . . .1.839
...........
2011 . . . . . 755
. . . . . . . . . . . . . . . . . . . .41.1
. . . . . . . . . . . . . . . . . . . . 67836.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34919.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
. . . . . . . . . . . . . . . . . . .2.9
. . . . . . . . . . . . . . .1.836
...........
2012 3 C
Number of film broadcasts on FTA national channels
broken down1, by origin (counting each film only once)
All channels combined except for Canal+.
3
Note: Films broadcast on different channels during the same year are counted only one.
On Arte and FTA DTT private channels if a film is aired on the same channel several times during
a single year, it is accounted for only once. Besides, a single film broadcast several times over
two consecutive years is accounted for in both year n and n+1.
Source: CNC-CSA.
1
. . . . . . . . . . . . . . . . . . . . . . . .43.6
. . . . . . . . . . . . . . . . . . . . .869
. . . . . . . . . . . . . . . . . . .35.9
. . . . . . . . . . . . . . . . . . . . .430
. . . . . . . . . . . . . . . . . . .17.8
. . . . . . . . . . . . . . . . . . . . . . . 65
. . . . . . . . . . . . . . . . . . .2.72,420
.........................
total 1,056
C
Number of film broadcasts on television in 20121, by origin
4
FTA DTT private + TF1 + M6.
5
Note: Films shown on different channels during a single year are accounted for several times.
On Arte, Canal+ and FTA DTT private channels, if a film is broadcast on the same channel several
times during the same year, it is only counted once. Besides, a single film broadcast several times
over two consecutive years is accounted for in both year n and n+1.
Source: CNC-CSA.
1
2
3
2
02
D
Decrease in films offered during primetime
In 2012, film content decreased in primetime on all
channels (FTA national channels and Canal+)
to 1,549 broadcasts. This decline was essentially due to
FTA DTT private channels. The film content in primetime
decreased by 59 broadcasts on Direct Star/D17 in 2012,
by 25 broadcasts on TMC; by 18 broadcasts on NRJ12
and by 17 broadcasts on Direct 8/D8. The film content
in primetime increased for four channels only: +1 film on
France 2, +5 films on TF1, +8 films on Arte and +16 films
on Gulli.
2003 20042005220062007200820092010 201120123
France 2 75736865565257514950
...............................................................................................................................................................................................
France 3 77747858586065686456
...............................................................................................................................................................................................
France 4 --
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
. . . . . . . . . . . . . . . . . . . .70
. . . . . . . . . . . . . . . . . 118
. . . . . . . . . . . . . . . . . . . . 120
. . . . . . . . . . . . . . . . . . . .130
. . . . . . . . . . . . . . . . . . . .136
. . . . . . . . . . . . . . . . . . . .146
. . . . . . . . . . . . . . . . . . . .145
......
France 5 0011052150
...............................................................................................................................................................................................
...............................................................................................................................................................................................
Arte 157150153169144157166188176184
...............................................................................................................................................................................................
LCP-AN . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-23100000
................................................................................................................................................................
FTA public channels 4 309297339366377394420444440435
...............................................................................................................................................................................................
The film content in primetime on France 2 remained
stable in 2012 at 50 films (one more film than in 2011).
Sunday night film content was relatively stable (39 films
in 2012, 40 in 2011). Since 2007, film broadcasts on
Tuesday nights have been particularly variable (11 films
in 2012, compared to 8 films in 2011, 12 films in 2010 and
2 films in 2007). 60.0% of France 2’s primetime films
were French (-5.3 points compared to 2011), and more
than 50% of primetime films on France 2 were premieres
(16 films). American films made up 28.0% of the total
(+7.6 points). 10 American film premieres were shown in
primetime on France 2 in 2012 (6 in 2011).
In 2012, film content on France 3 in primetime was the
lowest in the past ten years. The channel showed 56 films
in this time slot in 2012, 8 less than in 2011. It still aired
primarily French films (57.1%), of which 34.3% were
premieres (36.1% in 2011). Feature films were mainly
shown on Thursday nights (91.1%, 81.3% in 2011).
France 4 scheduled only one less film than in 2011 during
primetime, with 145 films. Since 2006, the number of
films aired during primetime on France 4 has increased
by an average of 12.9% per year. The channel scheduled
two regular film slots: Tuesday (23.4% of primetime
broadcasts in 2012, compared to 13.0% in 2011) and
Sunday (50.3% in 2012 compared to 52.1% in 2011).
50.3% of films aired by France 4 during primetime in 2012
were French and 38.6% were American.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
....
6ter ---------
...............................................................................................................................................................................................
Chérie 25 ---------2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . . . 80
. . . . . . . . . . . . . . . . . .146
. . . . . . . . . . . . . . . . . . . . 147
. . . . . . . . . . . . . . . . . . . .145
. . . . . . . . . . . . . . . . . . . . 141
. . . . . . . . . . . . . . . . . . . . 114
. . . . . . . . . . . . . . . . . . . . . . 97
....
Direct 8/D8 5 --
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-001
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
. . . . . . . . . . . . . . . . . . . . 67
. . . . . . . . . . . . . . . . . . . . 61
. . . . . . . . . . . . . . . . . . 117
. . . . . . . . . . . . . . . . . . . . . .58
....
Direct Star/D175 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-005
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
. . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . . 63
. . . . . . . . . . . . . . . . . . . .88
. . . . . . . . . . . . . . . . . .104
......
Gulli ...............................................................................................................................................................................................
HD1 ---------8
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
. . . . . . . . . . . . . . . . . . 126
. . . . . . . . . . . . . . . . . . . .140
. . . . . . . . . . . . . . . . . . . .136
. . . . . . . . . . . . . . . . . . . . 112
. . . . . . . . . . . . . . . . . . . . . .94
....
NRJ12 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . 83140141140130143144131
................................................................................................................................................
NT1 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-101133144144144142144
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
......
TMC . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . .26100103104104134136127
...............................................................................................................................................
W9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
. . . . . . . . . . . . . . . . . . . .453
. . . . . . . . . . . . . . . . . . . .602
. . . . . . . . . . . . . . . . . . . .749
. . . . . . . . . . . . . . . . . . . .780
. . . . . . . . . . . . . . . . . . . .820
. . . . . . . . . . . . . . . . . . . .855
. . . . . . . . . . . . . . . . . . . .750
......
...............................................................................................................................................................................................
TF1 85757860615852484954
...............................................................................................................................................................................................
M6 68646863485751453737
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711864883913941841
..........................................................................................................
FTA private channels6 153139368576
FTA national channels7 . . . . .462
. . . . . . . . . . . . . . . . . . . .436
. . . . . . . . . . . . . . . . . . . .707
. . . . . . . . . . . . . . . . . . . .9421.0881.2581.3031.3571.3811.276
..............................................................................................................................
Canal+ ndndndnd
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
. . . . . . . . . . . . . . . . . . . .306
. . . . . . . . . . . . . . . . . . . .280
. . . . . . . . . . . . . . . . . . . .254
. . . . . . . . . . . . . . . . . . . .274
. . . . . . . . . . . . . . . . . . . .273
......
total ndndndnd
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.382
. . . . . . . . . . . . . . . . . . . .1.564
. . . . . . . . . . . . . . . . . . . .1.583
. . . . . . . . . . . . . . . . . . . . .1.611
. . . . . . . . . . . . . . . . . . .1.655
. . . . . . . . . . . . . . . . . . . .1.549
..........
D
Film broadcasts during primetime1
1
Broadcasts starting between 8:30 p.m. and 10:20 p.m. on FTA national channels and between 6 p.m.
and 11 p.m. on Canal+.
1
3
4
5
6
7
Source: CNC-CSA.
2003 20042005220062007200820092010 201120123
2003 20042005220062007200820092010 201120123
France 2 42373835262930273230
...............................................................................................................................................................................................
30292622211618201014
...............................................................................................................................................................................................
France 3 37464431302932393632
...............................................................................................................................................................................................
29263023222223251921
...............................................................................................................................................................................................
France 4 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-2035626667777673
................................................................................................................................................................
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . .923434141425456
.............................................................................................................................................
France 5 0011052140
...............................................................................................................................................................................................
0000000000
...............................................................................................................................................................................................
France Télévisions . . . . . . . .79
. . . . . . . . . . . . . . . . . . . 83103102
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118129131144148135
..........................................................................................................
59556568867982878391
...............................................................................................................................................................................................
Arte 59415654485652676351
...............................................................................................................................................................................................
39604963545267526364
...............................................................................................................................................................................................
LCP-AN . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-11100000
................................................................................................................................................................
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-22000000
................................................................................................................................................................
FTA public channels 4 138124160157167185183211211186
...............................................................................................................................................................................................
. . . . . . . .98
. . . . . . . . . . . . . . . . . .115
. . . . . . . . . . . . . . . . . . . .116133140131149139146155
.................................................................................................................................................
...............................................................................................................................................................................................
6ter ---------4
...............................................................................................................................................................................................
---------3
...............................................................................................................................................................................................
Chérie 25 ---------1
...............................................................................................................................................................................................
---------1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
. . . . . . . . . . . . . . . . . . 119
. . . . . . . . . . . . . . . . . . . .103
. . . . . . . . . . . . . . . . . . . . . . 87
. . . . . . . . . . . . . . . . . . . . 75
. . . . . . . . . . . . . . . . . . . .60
. . . . . . . . . . . . . . . . . . . . 47
....
Direct 8/D8 5 --2
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . .726253757614741
.............................................................................................................................................
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-0014
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
. . . . . . . . . . . . . . . . . . . . 21
. . . . . . . . . . . . . . . . . . . .46
. . . . . . . . . . . . . . . . . . . .27
....
Direct Star/D175 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-000
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
. . . . . . . . . . . . . . . . . . . . 26
. . . . . . . . . . . . . . . . . . . . 30
. . . . . . . . . . . . . . . . . . . .54
. . . . . . . . . . . . . . . . . . . . 21
....
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-004
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . 21
. . . . . . . . . . . . . . . . . . . . 31
. . . . . . . . . . . . . . . . . . . .46
. . . . . . . . . . . . . . . . . . . .49
....
Gulli . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-0017
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . 23
. . . . . . . . . . . . . . . . . . . . 27
. . . . . . . . . . . . . . . . . . . .42
....
...............................................................................................................................................................................................
HD1 ---------4
...............................................................................................................................................................................................
---------3
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . .0
. . . . . . . . . . . . . . . . . . . .0235160604229
.........................................................................................................................
NRJ12 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . .0356958595854
.........................................................................................................................
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-4761645761606350
................................................................................................................................................................
NT1 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . -3069575353586162
.................................................................................................................................................................
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . .-6569616162627046
................................................................................................................................................................
TMC . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . -2554585463585959
.................................................................................................................................................................
. . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . -1347465045636556
.................................................................................................................................................................
W9 . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . . . .838384140545856
.............................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
. . . . . . . . . . . . . . . . . . . .223
. . . . . . . . . . . . . . . . . . . . 318
. . . . . . . . . . . . . . . . . . . .336
. . . . . . . . . . . . . . . . . . . .366
. . . . . . . . . . . . . . . . . . . .372
. . . . . . . . . . . . . . . . . . . .392
. . . . . . . . . . . . . . . . . . . .313
......
. . . . . . . . . . -
. . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . 72187
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214300315343364342
..........................................................................................................
...............................................................................................................................................................................................
TF1 43434031343125242425
...............................................................................................................................................................................................
33293223222320202022
...............................................................................................................................................................................................
M6 29283126252225231715
...............................................................................................................................................................................................
29232826182522191616
. . . . . . . .72
. . . . . . . . . . . . . . . . . . . .71198280377389
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .416
. . . . . . . . . . . . . . . . . . . .419433353
..............................................
FTA private channels6 . . . . . . . .62
. . . . . . . . . . . . . . . . . . . 52132236254348357382400380
....................................................................................................................................................................
FTA national channels7 210195358437544574599630644539
...............................................................................................................................................................................................
Canal+ ndndndnd98
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
. . . . . . . . . . . . . . . . . . . .126
. . . . . . . . . . . . . . . . . . . .120
. . . . . . . . . . . . . . . . . . . . 119
. . . . . . . . . . . . . . . . . . . .132
......
total ndndndnd
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .642
. . . . . . . . . . . . . . . . . . . .702
. . . . . . . . . . . . . . . . . . . .725
. . . . . . . . . . . . . . . . . . . .750
. . . . . . . . . . . . . . . . . . . 763
. . . . . . . . . . . . . . . . . . . . .671
......
D
Broadcast of French films during primetime1
160167248369394479506521546535
...............................................................................................................................................................................................
ndndndnd
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
. . . . . . . . . . . . . . . . . . . .131
. . . . . . . . . . . . . . . . . . . . 115
. . . . . . . . . . . . . . . . . . . . 110
. . . . . . . . . . . . . . . . . . . .124
. . . . . . . . . . . . . . . . . . . .108
......
ndndndnd
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .533
. . . . . . . . . . . . . . . . . . . .610
. . . . . . . . . . . . . . . . . . . .621
. . . . . . . . . . . . . . . . . . . .631
. . . . . . . . . . . . . . . . . . . 670
. . . . . . . . . . . . . . . . . . . . 643
.......
Broadcast of American films during primetime1
Broadcasts starting between 8:30 p.m. and 10:20 p.m. on FTA national channels and between 6 p.m. and 11 p.m. on Canal+.
As of 2005, films airing on France 5 and Arte are counted for a full broadcast day. Broadcast on FTA DTT private channels started on March 31, 2005.
3
4
5
6
7
Source: CNC-CSA.
1
2
02
Arte dedicated three regular time slots to movies during
primetime: Monday, Wednesday (as opposed to Thursday
in previous years) and Sunday. The channel aired 184 films
during this time slot in 2012 (176 films in 2011), 53 films
in its new time slot on Wednesday night (18 French films
and 30 European films). French films made up 27.7% of
primetime films, while American films constituted 34.8%
and non-French European films 51.1%. In addition, 37.5%
of the 184 films were premieres (31.8% in 2011). Arte
remained the top FTA national channel for films during
primetime in both number and variety. The channel
showed the largest proportion of European films of any
channel with 152 films airing in 2012, 94 during primetime.
Film content for FTA DTT private channels during
primetime represented 750 broadcasts, 48.4% of all
broadcasts in this time slot (855 broadcasts and 51.7%
in 2011). Between 2006 and 2011, the number of primetime
films airing on FTA DTT private channels increased by
an average of 13.5% per year. For the first time in 2012,
broadcasts in this time slot decreased by 12.3% (down by
105 broadcasts). Most of the FTA DTT private channels
scheduled regular movie time slots in 2012 during
primetime with at least 30 films aired for the same time
slot starting from 8:30 p.m. to 9:30 p.m.: Direct 8/D8 on
Tuesday and Sunday, Direct Star/D17 on Thursday, Gulli
on Tuesday and Thursday, NRJ12 on Monday and Tuesday,
NT1 on Tuesday, Thursday and Sunday, TMC on Monday
and Thursday and W9 on Monday and Tuesday. 41.7% of
primetime films on FTA DTT private channels were
French and 45.6% were American.
Until 2000, TF1 had aired a stable number of primetime
films at over 100 films per year. Since 2001, its content
has regularly decreased, dropping to 54 films in 2012, but
slightly up from 2011 (49 films). In 2012, the total volume
of broadcasts in the Sunday night slot continued to grow
with 45 films aired (41 films in 2011, 34 in 2010).
However, Tuesday night broadcasts were stable at 8 films,
compared to more than 20 in 2010. The number of primetime
premieres aired on TF1 decreased (20 films in 2012,
25 in 2011). The film content in prime time remained
stable in 2012 at 25 films (24 films in 2010 and 2011)
46.3%. The number of American films aired in this time
slot increased by two films (22 films in 2012, compared to
20 films in 2009 and 2011) and represented 40.7% of film
content in primetime.
In 2012, M6 aired 37 films during primetime (as in 2011),
the lowest level of the past ten years. Since 2006, the
channel’s traditional movie night – Monday night – has
been frequently occupied by other programs. 11 films
were aired on Monday in 2012, compared to 21 films in
2011 and 24 films in 2010. Film broadcasting on Thursday
nights has been variable over the past ten years: 14 films
in 2003, 2 films in 2007, and 29 films in 2008 and 2009.
In 2012, only 7 films were aired in this time slot.
With 15 films, French films accounted for 40.5% of M6’s
primetime film programming (17 films and 45.9% in 2011),
with the proportion of premieres decreasing (11 films
compared to 13 in 2011). 43.2% of films scheduled
between 8:30 p.m. and 10:20 p.m. were American in 2012
(as in 2011).
In 2012, Canal+ primetime film content remained stable
compared to 2011. 273 films were aired, of which 95.2%
were premieres (90.9% in 2011). It should be noted that
the notion of primetime on this channel is broader than
on other channels: it goes from 6:00 p.m. to 11:00 p.m.
Canal+ dedicated multiple time slots for films: Tuesday
(23.4%), Wednesday (20.9%), Friday (31.5%) and Saturday
(16.5%, under certain conditions). The channel scheduled
48.4% French films (43.4% in 2011) and 39.6% American
films (45.3% in 2011) in this time slot in 2012.
The latest, complete results concerning film broadcasting
and viewership are available in the study on airing
feature films on television in 2011, published in July 2012
and can be downloaded online at www.cnc.fr.
title
title
director
year of
productioncountry 2
number of
airings
year of
last airing
director
year of
productioncountry2
number of
airings
year of
last airing
47 ...............................................................................................................................................................................................................................................
48 ...............................................................................................................................................................................................................................................
Hibernatus
Molinaro Edouard
1969
FR
17
2012
Untamable Angelique
Borderie Bernard
1967
FR
17
2012
Marriage of the Century
Galland Philippe
1985
FR
17
2012
Any Number Can Win
Verneuil Henri
1962
FR
17
2012
Angelique: The Road To Versailles Borderie Bernard
1964
FR
17
2012
The Little Bather
Dhery Robert
1967
FR
17
2012
The Little World of Don Camillo
Duvivier Julien
1951
FR
17
2012
The Case Against Ferro
Corneau Alain
1975
FR
17
2012
For 200 Grand, You Get Nothing Now
Molinaro Edouard
1982
FR
17
2012
The Return of Don Camillo
Duvivier Julien
1952
FR
17
2012
Trinity: Good Guys and Bad Guys
Corbucci Bruno
1985
IT
17
2012
The Great Spy chase
Lautner Georges
1964
FR
16
2012
The Five Crazy Boys
Zidi Claude
1971
FR
16
2012
The brain
Oury Gérard
1968
FR
16
2012
Move Along, There Is Nothing to See
Leconte Patrice
1982
FR
16
2012
The Sucker
Oury Gérard
1964
FR
16
2010
The Umbrella Coup
Oury Gérard
1980
FR
16
2012
The Wild Goose Chase
Zidi Claude
1975
FR
16
2012
Don Camillo in Moscow
Comencini Luigi
1965
FR
16
2012
The Pain in the A**
Molinaro Edouard
1973
FR
16
2012
Rob the Bank
Girault Jean
1963
FR
16
2012
Fantomas
Hunebelle André
1964
FR
16
2012
Fantomas Against Scotland Yard
Hunebelle André
1966
FR
16
2012
1 ...............................................................................................................................................................................................................................................
The Black Tulip
Christian-Jaque
1963FR
24
2012
49 ...............................................................................................................................................................................................................................................
2 ...............................................................................................................................................................................................................................................
Captain Blood
Hunebelle André
1960
FR
22
2011
50 ...............................................................................................................................................................................................................................................
3 ...............................................................................................................................................................................................................................................
Let’s Not Get Angry
Lautner Georges
1965
FR
22
2012
51 ...............................................................................................................................................................................................................................................
4 ...............................................................................................................................................................................................................................................
What’s Cooking in Paris
Besnard Jacques
1966
FR
21
2012
52 ...............................................................................................................................................................................................................................................
5 . . . . . . . . .Spat
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zidi
. . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1977
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
53 ...............................................................................................................................................................................................................................................
6 ...............................................................................................................................................................................................................................................
Ali Baba and the Fourty Thieves
Becker Jacques
1954
FR
20
2011
54 ...............................................................................................................................................................................................................................................
7 ...............................................................................................................................................................................................................................................
Quarter to Two Before Jesus-Christ
Yanne Jean
1982
FR
20
2012
55 ...............................................................................................................................................................................................................................................
8 ...............................................................................................................................................................................................................................................
My Name Is Nobody
Valerii Tonino
1973
FR
20
2012
56 ...............................................................................................................................................................................................................................................
9 Pasha
Lautner Georges
1967
FR
20
...............................................................................................................................................................................................................................................
2012
57 ...............................................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Girault
. . . . . . . . . . . . . . .Jean
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1963
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
10 Pouic-Pouic
58 ...............................................................................................................................................................................................................................................
11 ...............................................................................................................................................................................................................................................
Signes extérieurs de richesse
Monnet Jacques
1983
FR
20
2012
59 ...............................................................................................................................................................................................................................................
12 ...............................................................................................................................................................................................................................................
Asterix and Cleopatra
Uderzo / Goscinny
1968
FR
19
2012
60 ...............................................................................................................................................................................................................................................
13 ...............................................................................................................................................................................................................................................
Asterix the Gaul
Uderzo / Goscinny
1967
FR
19
2012
61 ...............................................................................................................................................................................................................................................
14 ...............................................................................................................................................................................................................................................
The Counterfeiters of Paris
Grangier Gilles
1961
FR
19
2012
62 ...............................................................................................................................................................................................................................................
15 ...............................................................................................................................................................................................................................................
Crime Buster
Clucher E. B.
1977
IT
19
2012
63 ...............................................................................................................................................................................................................................................
16 ...............................................................................................................................................................................................................................................
Children of Paradise
Carne Marcel
1945
FR
19
2012
64 ...............................................................................................................................................................................................................................................
17 ...............................................................................................................................................................................................................................................
The Inheritor
Labro Philippe
1972
FR
19
2010
65 ...............................................................................................................................................................................................................................................
18 ...............................................................................................................................................................................................................................................
Nuit d’ivresse
Nauer Bernard
1986
FR
19
2012
66 ...............................................................................................................................................................................................................................................
19 ...............................................................................................................................................................................................................................................
Pinot simple flic
Jugnot Gérard
1984
FR
19
2011
67 ...............................................................................................................................................................................................................................................
20 . . . . . . . . . Sun
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Young
. . . . . . . . . . . . . Terence
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1971
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Red
68 ...............................................................................................................................................................................................................................................
21 . . . . . . . . . . Bags
. . . . . . . . . . . Full
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Autant-Lara
. . . . . . . . . . . . . . . . . . . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1956
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Four
69 ...............................................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . Strikes
. . . . . . . . . . . . . . . Back
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hunebelle
. . . . . . . . . . . . . . . . . . . . . .André
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1965
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Fantomas
22 . . . . . . . . . . . . . . . . . . . . .Go
. . . . . .to
. . . . .War
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zidi
. . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1974
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Sadsacks
70 23 . . . . . . . . .Sicilian
. . . . . . . . . . . . . . . Clan
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Verneuil
. . . . . . . . . . . . . . . . . .Henri
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1969
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2011
.........
The
71 . . . . . . . . .Grilling
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miller
. . . . . . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1981
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
24 . . . . . . . . .Twelve
. . . . . . . . . . . . . .Tasks
. . . . . . . . . . . .of
. . . . .Asterix
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Uderzo
.............../
. . . Goscinny
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1975
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
72 . . . . . .Garde
. . . . . . . . . . . . .du
. . . . . .corps
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leterrier
. . . . . . . . . . . . . . . . . . .François
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1983
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Le
25 . . . . . . . . .Gendarme
. . . . . . . . . . . . . . . . . . . . .of
. . . . .Saint-Tropez
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Girault
. . . . . . . . . . . . . . .Jean
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1964
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
73 . . . . . . . . . . .Big
. . . . . . .Store
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zidi
. . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1973
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Thye
26 . . . . . .Guignolo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lautner
. . . . . . . . . . . . . . . . .Georges
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1979
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Le
74 . . . . . . . . .Man
. . . . . . . . . from
. . . . . . . . . . Rio
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . De
. . . . . . Broca
. . . . . . . . . . . . . Philippe
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1963
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2004
.........
The
27 . . . . . . . . . . . . . . . . .Wall
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Camus
. . . . . . . . . . . . . . .Marcel
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1970
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Atlantic
75 . . . . . . . .Gazebo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Girault
. . . . . . . . . . . . . . .Jean
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1971
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Thr
28 . . . . . . . . . . . . . . . .Skin
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Demy
. . . . . . . . . . . . Jacques
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1970
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Donkey
76 . . . . . . . . .Toy
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Veber
. . . . . . . . . . . . .Francis
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1976
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
29 . . . .Genius,
. . . . . . . . . . . . . . . .Two
. . . . . . . . Friends,
. . . . . . . . . . . . . . . . . .and
. . . . . . . .an
. . . . . .Idiot
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Damiani
. . . . . . . . . . . . . . . . . .Damiano
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1975
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2011
.........
A
77 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lautner
. . . . . . . . . . . . . . . . .Georges
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1970
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Troubleshooter
30 . . . . . . . . .Annuity
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tchernia
. . . . . . . . . . . . . . . . . . Pierre
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1971
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
78 . . . . . . .the
. . . . . . .Way
. . . . . . . . . Boys
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Colizzi
. . . . . . . . . . . . . . .Giuseppe
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1973
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
All
31 . . . . . . . . . . . . chez
. . . . . . . . . . moi,
. . . . . . . . . .j’habite
. . . . . . . . . . . . . . . .chez
. . . . . . . . . .une
. . . . . . . .copine
. . . . . . . . . . . . . . . . . . . . . . . . . . Leconte
. . . . . . . . . . . . . . . . . Patrice
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1980
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Viens
79 . . . . . . . . . . . . . Pierre
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zidi
. . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1974
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Lucky
32 . . . . . . . . . . . . . . . . . . . . .and
. . . . . . . . the
. . . . . . . .King
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Borderie
. . . . . . . . . . . . . . . . . . .Bernard
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1965
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Angelique
80 . . . . . . . . . . .Call
. . . . . . . . me
. . . . . . . trinity
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clucher
. . . . . . . . . . . . . . . . .E.
. . . . .B.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1971
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
They
33 . . . . . . . . . . . . . . . . . . . . .and
. . . . . . . . the
. . . . . . . .Sultan
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Borderie
. . . . . . . . . . . . . . . . . . .Bernard
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1967
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Angelique
81 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Schulmann
. . . . . . . . . . . . . . . . . . . . . . . .Patrick
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1985
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
P.R.O.F.S.
34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Borderie
. . . . . . . . . . . . . . . . . . .Bernard
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1964
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Angelique
82 . . . . . . . . .President
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Verneuil
. . . . . . . . . . . . . . . . . .Henri
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1960
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
35 ...............................................................................................................................................................................................................................................
Army of Shadows
2011
83 . . . . . . .for
. . . . . . It
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clucher
. . . . . . . . . . . . . . . . .E.
. . . . .B.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1982
. . . . . . . . . . . . . . . . . .IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Go
36 . . . . . . . . .Party
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pinoteau
. . . . . . . . . . . . . . . . . . . Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1980
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
84 . . . . . .Quart
. . . . . . . . . . . . d’heure
. . . . . . . . . . . . . . . . américain
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Galland
. . . . . . . . . . . . . . . . .Philippe
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1982
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Le
37 . . . . . . . . . . . . . . . . of
. . . . .Blood
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . De
. . . . . . Broca
. . . . . . . . . . . . . Philippe
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1961
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Swords
85 ...............................................................................................................................................................................................................................................
38 . . . . . . . . . . . . .Boys
. . . . . . . . . . in
. . . . .Spain
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Girault
. . . . . . . . . . . . . . .Jean
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1972
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Crazy
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pagnol
. . . . . . . . . . . . . . .Marcel
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1938
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
86 Heartbeat
Melville Jean-Pierre
1969
FR
17
Rio Bravo
Hawks Howard
1958
US
16
2012
39 . . . . . . . Wife’s
. . . . . . . . . . . . . Husband
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grangier
. . . . . . . . . . . . . . . . . . .Gilles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1963
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
My
87 ...............................................................................................................................................................................................................................................
40 ...............................................................................................................................................................................................................................................
Two Men in Town
Giovanni José
1973
FR
17
2012
88 ...............................................................................................................................................................................................................................................
41 ...............................................................................................................................................................................................................................................
Don Camillo: Monsignor
Gallone Carmine
1961
FR
17
2011
89 ...............................................................................................................................................................................................................................................
Sissi
Marischka Ernst
1955
AT
16
Sissi: The Faithfoul Years of an Empress
Marischka Ernst
1956
AT
16
2012
2011
Sissi: the Young Empress
Marischka Ernst
1956
AT
16
2012
2009
42 . . . . . . . . . . . . . . . . . . Nuts
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zidi
. . . . . . . . .Claude
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1972
. . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Stadium
90 ...............................................................................................................................................................................................................................................
43 ...............................................................................................................................................................................................................................................
The Gendarme in New-York
Girault Jean
1965
FR
17
2012
91 ...............................................................................................................................................................................................................................................
44 ...............................................................................................................................................................................................................................................
The Gendarme Gets Married
Girault Jean
1968
FR
17
2012
92 ...............................................................................................................................................................................................................................................
La Grande Bagarre de Don Camillo
Gallone Carmine
1955
FR
17
La Smala
Hubert Jean-Loup
1984
FR
16
The Under-Gifted
Zidi Claude
1979
FR
16
2012
Les Spécialistes
Leconte Patrice
1984
FR
16
2012
45 ...............................................................................................................................................................................................................................................
2011
93 . . . . . . . . . . . . . . . . . . . .Gangster
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lautner
. . . . . . . . . . . . . . . . .Georges
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1963
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
Monsieur
46 . . . . . . Grande
. . . . . . . . . . . . . . . .Vadrouille
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Oury
. . . . . . . . . . .Gérard
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1966
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
La
94 . . . . . . . . .Cow
. . . . . . . . .and
. . . . . . . . I
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Verneuil
. . . . . . . . . . . . . . . . . .Henri
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1959
. . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . .2012
.........
The
Ranking of most-aired films on FTA national channels since 19571
All FTA national channels.
AT: Austria, FR: France, IT: Italy, US: United States.
Source: CNC-CSA.
1
2
02
E
€870 million for film purchases
In 2012, the purchase price for films varied from €0.05 million
to €4.50 million depending on the channel and the time
of broadcast. It also depended on the number of theater
tickets sold for film premieres on television and on
ratings for films that had been previously broadcast.
For recent French films, the average purchase price varied
between €0.50 million and €3.60 million for TF1 and M6,
and between €.0.07 million and €4.50 million for movie
channels like Canal+ and OCS. It was between €0.15 million
and €1.60 million for France 2, between €0.15 million and
€1.10 million for France 3 and between €0.10 million and
€0.15 million for Arte.
In 2012, television channels spent €870.7 million on
purchasing rights and pre-purchases for broadcasting
films, a decrease of 3.3%. This change conveys the fall of
film content on FTA channels including DTT channels on
primetime. And TPS Star, a movie channel, disappeared
in 2012. Pre-purchases of French films declined of 5.9%
to €311.1 million. Total purchases and pre-purchases of
French films were estimated at €391.8 million, a decrease
of 10.3% compared to 2011. This change was due to the
decrease of French films on FTA channels including DTT
channels.
including
purchases French films
F
More than 29,000 hours of fiction on FTA national channels
In 2012, FTA national channels (TF1, France 2, France 3,
France 5, M6, Arte, Direct 8/D8, W9, TMC, NT1, NRJ12,
France 4 and Gulli) aired 29,084 hours of fiction over the
course of the day, according to Médiamétrie. The number
of hours of fiction increased by 0.5% compared to 2011
(28,948 hours). Fiction was the top-aired genre on
television and the most viewed genre by television
viewers. In terms of hours, fiction represented 25.6% of
programming on FTA national channels (+0.1 points) and
25.7% of viewing by audiences aged 4 and up (-1.1 points).
The average French person consumed 284 hours of fiction
on FTA national channels in 2012, i.e., 5 hours and 28 minutes
per week. Viewing of fiction decreased by 1.4 % compared
to 2011 (288 hours).
2012
25.6
74.4
2011
25.5
74.5
2012
25.7
74.3
2011
26.8
73.2
aired1
...................................................
2003 804.6388.1
...................................................
2004 833.7423.2
...................................................
2005 826.1453.6
...................................................
2006 800.6379.7
...................................................
2007 864.8404.7
...................................................
2010 881.4431.9
E
Purchase of broadcast rights for films
by the TV channels (M€)
1
Estimates.
Source: CNC.
Methodology
Evening primetime programs are shows generally
starting between 8:35 p.m. and 9:00 p.m. One night
of fiction was equivalent to one 90-minute fiction
program, two 52-minute fiction programs or three
26-minute fiction programs during primetime.
Traditional national channels (TF1, France 2, France 3,
Canal+, M6 and Arte) scheduled 822 nights of fiction in
2012, 9 more nights than in 2011. Fiction occupied 37.4%
of nights on these channels (37.1% in 2011). In 2012, the
fiction content increased by 24 nights on Arte, 7 nights
on Canal+ and 2 nights on TF1. It decreased by 15 nights
on France 2, 8 nights on M6 and one night on France 3.
TF1 remained the first broadcaster of fiction in primetime.
The channel devoted 183 nights to fiction in 2012,
representing 22.3% of nights devoted to fiction on the six
traditional national channels. M6 became the number
two broadcaster of fiction (150 nights in 2012), ahead of
France 2 (148 nights), France 3 (139 nights), Canal+
(111 nights) and Arte (91 nights). In 2012, the six traditional
national channels each scheduled between 8 and 15 nights
of fiction per month. Fiction occupied 50.0% of nights on
TF1, 41.0% on M6, 40.4% on France 2, 38.0% on France 3,
30.3% on Canal+ and 24.9% on Arte.
20082009 2010 2011 2012
0 %
...................................................
2009 918.2435.5
...................................................
2011 900.6436.8
37.4% of nights devoted to fiction on FTA national
channels
viewed2
...................................................
2008 936.8453.5
...................................................
20121 870.7391.8
G
FICTION ON TELEVISION
fiction
F
25 %
50 %
75 %
100 %
TF1 174192180181183
...............................................................................................................
France 2 169159149163148
...............................................................................................................
other programs
France 3 132130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111140139
.....................................................
Airing and viewing of fiction on TV (%)
1
¹
On national FTA channels (TF1, France 2, France 3,
France 4 and Gulli).
2
Viewing by audiences ages 4 and up.
Source: Médiamétrie-Médiamat.
Canal+ . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . . . . . . . .96103104
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
.....
M6 145150141158150
...............................................................................................................
Arte 7056676791
...............................................................................................................
G
Primetime fiction broadcasts
on traditional channels
Source: CNC – Médiamétrie.
H
Increase in foreign fiction
In 2012, the foreign fiction increased by 15 nights compared
to 2011, while French fiction dropped by 6 nights. All formats
taken together, foreign fiction occupied 506 nights in 2012
(61.6% of total nights), compared to 316 nights for French
fiction (38.4%). French fiction declined on TF1 (-14 nights),
France 2 (-6 nights) and M6 (-6 nights), while it increased
on Arte (+14 nights), France 3 (+5 nights) and Canal+ (+1 night).
The rise in foreign fiction was due less to American fiction
(+5 nights) than to non-French European fiction (+17 nights).
Foreign fiction from other countries (mostly Canada) lost
7 nights. Foreign fiction increased on TF1 (+16 nights),
Arte (+10 nights) and Canal+ (+6 nights), while it decreased
on France 2 (-9 nights), France 3 (-6 nights) and M6
(-2 nights). In 2012, M6 remained the top broadcaster of
foreign fiction and France 3 became the top broadcaster
of French fiction.
I
Sharp increase in 52-minute programs
In 2012, the 52-minute format gained 78 nights compared
to 2011, while the number of nights of 90-minute fictions
(-63 nights), 26-minute fictions (-3 nights) and other
formats (-3 nights) declined. 52-minute fictions
accounted for 576 nights in 2012 (70.1% of total nights),
compared to 239 nights for 90-minute fictions (29.1%),
5 nights for 26-minute fictions (0.6%) and 2 nights for the
“other” category (0.2%). In 2012, the number of nights of
52-minute fictions remained stable or increased on all
traditional national channels. The 52-minute fiction
content increased by 32 nights on Arte, 21 nights on TF1,
13 nights on France 3, 9 nights on France 2 and 3 nights
on Canal+. It remained stable on M6. The number of
90-minute fiction nights has, on the other hand, declined
on all channels except Canal+. The 90-minute fiction
content declined by 20 nights on France 2, 19 nights on
TF1, 15 nights on France 3, 9 nights on M6 and 8 nights
on Arte. It increased by 8 nights on Canal+.
2009 2010 2011 2012
26 minutes 3285
.......................................................................................
.......................................................................................
52 minutes 473465498576
.......................................................................................
90 minutes 302280302239
.......................................................................................
other2 5452
.......................................................................................
total 783751813822
I
Primetime fiction broadcasts,
by format¹
¹ On the traditional national channels:
TF1, France 2, France 3, Canal+, M6, Arte.
² Short-format fictions or fictions of various formats.
French fiction
foreign fiction
200820092010 2011 2012200820092010 20112012
TF1 899682867285969895
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
......
. . . . . .111
. . . . . . . . . . . . . . . . . . . 1028796905857626758
......................................................................................................................................................................
France 2 . . . . . . . .91101
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
. . . . . . . . . . . . . . . . . . . 87
. . . . . . . . . . . . . . . . . . . . 92
. . . . . . . . . . . . . . . . . . . . .41
. . . . . . . . . . . . . . . . . . . 29
. . . . . . . . . . . . . . . . . . . . 26
. . . . . . . . . . . . . . . . . . . .53
. . . . . . . . . . . . . . . . . . . . 47
....
France 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . .17292930nd79
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747581
............................................
Canal+ nd
. . . . . . . .24
. . . . . . . . . . . . . . . . . . . .17
. . . . . . . . . . . . . . . . . . . .18
. . . . . . . . . . . . . . . . . . . .12
. . . . . . . . . . . . . . . . . . . . . .6121133123146144
.....................................................................................................
M6 ...............................................................................................................................................................................................
Arte 16241912265432485565
H
Primetime fiction broadcasts, by origin
02
J
FICTION AND FILM VIEWERSHIP
Television viewing time reached record highs in 2012
According to data published by Médiamétrie, television
viewing in France reached a new record high in 2012.
It grew by 3 minutes compared to 2011 for individuals
aged 4 and up, totaling an average of 3 hours and
50 minutes per day. Television viewing declined by
3 minutes for the 4-14 age group, reaching 2 hours and
15 minutes. It surpassed the 5 hours threshold for the
first time for ages 50 and up. Time spent watching
pre-recorded programs, included in measurements of
television audiences since 2011, remained stable at
4 minutes for those aged 4 and over.
By comparison, average television viewing reached an
average of 3 hours and 17 minutes (+1 minute compared
to 2011) around the world in 2012, 2 hours and 45 minutes
in the Asia/Pacific region, 3 hours and 28 minutes (-1 minute)
in Latin America, 3 hours and 39 minutes (-8 minutes) in
Africa, 3 hours and 55 minutes (+7 minutes) in Europe,
4 hours and 46 minutes (-1 minute) in North America and
4 hours and 55 minutes (stable) in the Middle East.
In Europe, time per day spent watching television
reached 3 hours and 42 minutes in Germany (-3 minutes),
4 hours and 1 minute in Great-Britain (-1 minute), 4 hours
and 6 minutes in Spain (+7 minutes) and 4 hours and
14 minutes in Italy (+2 minutes).
Television sets remained the main medium for viewing
television. 98.0% of French people aged 15 and older
watched television programs each month on a television
set. Alternative media (computers, smartphones, tablets,
etc.) and new methods of program viewing (including
catch-up TV) are developing and complement traditional
viewing methods. According to Médiamétrie (Global TV
October-November 2012), 23.4% of French people aged
15 and older (12.0 million people) watch live television or
pre-recorded programs on a computer (desktop or laptop),
mobile phone or tablet every month. Most people used a
computer screen (19.4%), ahead of mobile phones (6.5%)
and tablets (3.3%). People equipped with those three
K
types of screens (4.8 million people) were twice more
likely to use at least one of these media to watch
television programs (50.8%, with 34.1% on a computer,
29.5% on a tablet and 18.1% on a mobile phone).
The viewing time due to these new media and usage
habits was still less significant than viewing of live and
pre-recorded programs on televisions.
Slowed growth of DTT channels
In 2012, the growth of the market share of DTT channels
(Direct 8/D8, W9, TMC, NT1, NRJ12, France 4, BFMTV,
i>télé, Direct Star/D17 and Gulli) slowed. Viewership of
DTT channels amounted to 21.4% (+0.5 points compared
to 2011). Viewership of traditional national channels (TF1,
France 2, France 3, Canal+, France 5, M6, Arte) decreased
by 0.3 points after dropping by 2.6 points in 2011.
It was at 66.7% in 2012. Viewership of specialty channels
declined for the third consecutive year (-0.5 points).
It reached its lowest level since 2006 (11.1%).
Four national channels had a lower percentage of
viewership in 2012. TF1 experienced the sharpest drop
(-1.0 point to 22.7%). Canal+ (2.9%), W9 (3.2%) and Gulli
(1.9%) lost 0.2 points each. TF1 and Canal+ saw their
weakest yearly performances since the creation of
Médiamat. W9’s viewership share is down for the first
time since its creation. Gulli percentage declined for the
second year in a row. Five channels maintained a stable
viewership share: the two top public channels (France 2
with 14.9% and France 3 with 9.7%) and the three Canal+
group DTT channels (D8 with 2.3%, i>télé with 0.8% and
D17 with 1.2%). Eight channels saw their viewership
share increase. M6 (11.2%) and BFMTV (1.8%) saw the
most growth (+0.4 points each), ahead of Arte (+0.3 points
to 1.8%). France 5 (3.5%) and NT1 (2.1%) gained 0.2 points
each. Viewership shares of TMC (3.6%), NRJ12 (2.4%) and
France 4 (2.1%) increased by 0.1 points. M6 viewership
percentage grew for the second year in a row.
Arte’s share increased for the first time since 2007.
In 2012, TF1 was still the top national traditional channel,
ahead of France 2. For the third year in a row, M6 was in
third place, ahead of France 3 and TMC. The rest of the
ranking changed. France 5 took back 6th place from W9
(7th). Canal+ and NRJ12 remained in 8th and 9th place.
Direct 8/D8, tied with NRJ12 in 2011, went down a place.
NT1 (which moved up two places) and France 4 (up one)
were even in 11th place. They were followed by Gulli
(13th), which went down two places. Arte remained in
14th, even with BFMTV, which was in 15th in 2011.
The bottom remained unchanged: Direct Star/D17 (16th)
ahead of i>télé (17th).
Looking at national channel viewership by group,
France Télévisions (+0.3 points to 30.2%) remained the
top French television group, ahead of TF1 (-0.7 points to
28.4%) and M6 (+0.2 points to 14.4%). In 2012, the Canal+
audience share reached 7.2% with the integration of D8
and D17, compared to 3.9% in 2011 (when taking only
Canal+ and i>télé into account). The viewership percentage
for private national channels dropped by 0.4 points to 56.1%
in 2012. The viewership percentage for public national
channels went up by 0.6 points to 34.0%. FTA channels
represented 86.0% of television viewership (+0.7 points),
compared to 14.0% for pay TV channels (including Canal+).
In 2012, TF1 garnered 88 of the top 100 television audiences.
France 2 (8 programs), M6 (3 programs) and France 3
(1 program) filled out the rest of the ranking, primarily
due to the Olympic Games, Euro Cup fotball and the
presidential election. Broadcast on March 16th on TF1,
the entertainment event Le Bal des Enfoirés had the
largest television viewership for 2012 (13.3 million viewers).
The top American fiction (The Mentalist on TF1) was in the
9th position. The top French fiction (Nos Chers Voisins on
TF1) was in 29th place. The top film (Gran Torino on TF1)
ranked 15th. The top French film (Les Bronzés Font du Ski
on TF1) came in 31st place. In 2012, the ranking of the top
100 television audiences consisted of 43 fictions (38 American
fictions and 5 French fictions), 27 entertainment programs,
15 sport programs, 7 informational programs, 7 films and
one documentary.
L
Entertainment programs occupied 23 more places than
in 2011, while American fiction gave up 34 spots.
Film and fiction accounted for 31.0% of television
viewing and more than half of pre-recorded viewing
In 2012, television fiction was the top genre on FTA national
channels (25.6% of hourly volume), ahead of TV magazines
(19.3%) and documentaries (11.5%). In terms of viewing,
television fiction (25.7% of television viewing time for
ages 4 and up) and TV magazines (18.0%) were at the top.
Third place was occupied by news broadcasts (10.9%),
but they represented only 2.3% of total programming.
Film also had a higher viewership than television offer
(5.3% of viewership for 4.2% of programming).
Youth programs (animation and other programs) and
documentaries had a proportionally smaller viewership
compared to their percentage of programming.
Documentaries accounted for 11.5% of programming
on FTA national channels and 5.7% of viewership. Youth
programs represented 3.4% of consumption for 9.7% of
programming. Film and television fiction formed 29.8%
of programming on FTA national channels and 31.0% of
television consumption for viewers aged 4 and up in 2012.
These two types of programs accounted more than half
of pre-recorded viewing (52.3%).
3 hrs 22 min
25%
3 hrs 24 min
20%
2003 ...............................
2004 ...............................
2005 ...............................
2006 ...............................
2007 ...............................
2008 ...............................
2009 ...............................
3 hrs 26 min
3 hrs 24 min
3 hrs 24 min
2010 ...............................
2011¹ ...............................
2012 ...............................
J
2011
2012
10.2
5%
3 hrs 25 min
21.4
14.2
10%
3 hrs 27 min
20.9
18.2
15%
5.4
0%
3 hrs 32 min
2007
3 hrs 47 min
3 hrs 50 min
K
Time per day spent
watching television
in France
2008
2009
2010
Share of national viewership
for FTA DTT channels (%)1
¹ Direct 8/D8, W9, TMC, NT1, NRJ12, France 4, BFMTV, i>télé,
Direct Star/D17, Gulli.
Source: Médiamétrie-Médiamat, viewers aged 4 and up.
¹ Starting in 2011, data include
postponed viewing of programs
through home recordings.
Source: Médiamétrie-Médiamat,
viewers ages four and up.
20082009 2010 2011 2012
national channels . . . . . . . . 87.4
. . . . . . . . . . . . . . . . . . . . . . . .87.3
. . . . . . . . . . . . . . . . . . . . . . . .87.888.488.9
......................................................
TF1 27.226.124.523.722.7
..............................................................................................................
. . . . . . . . .17.516.716.114.914.9
.....................................................................................................
France 2 . . . . . . . .13.3
. . . . . . . . . . . . . . . . . . . . . . . . 11.8
. . . . . . . . . . . . . . . . . . . . . . . .10.79.79.7
......................................................
France 3 ..............................................................................................................
Canal+ 3.33.13.13.12.9
aired
viewed
2011201220112012
films . . . . . . . . . . . . . . . . 4,24,25,55,3
...................................................................................
..............................................................................................................
France 5 3.03.13.23.33.5
..............................................................................................................
M6 11.010.810.410.811.2
..............................................................................................................
Arte 1.71.71.61.51.8
..............................................................................................................
Direct 8/D8 0.71.42.02.32.3
. . . . . . . . . . . . . .25,525,626,825,7
.....................................................................................
fictions ..............................................................................................................
W9 1.82.53.03.43.2
. . . . . . . . . . . . . . . . 3,83,89,89,8
...................................................................................
gameshows ..............................................................................................................
TMC 2.12.63.33.53.6
. . . . . . . . . . . . . . . . .7,16,94,54,3
..................................................................................
variety ..............................................................................................................
NT1 1.01.41.61.92.1
. . . . . . . . . . . . . . . . 2,3
. . . . . . . . . . . . . . . . . . . . . . . . . . 2,3
. . . . . . . . . . . . . . . . . . . . . . . . .11,110,9
................................
news ..............................................................................................................
NRJ12 1.01.51.92.32.4
. . . . . . . . . . . . . .18,819,3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17,318,0
.................................
magazines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.11.62.02.1
...........................................................................
France 4 0.9
. . . . . . . . . . . . . .10,811,5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4,9
. . . . . . . . . . . . . . . . . . . . . . . . . . 5,7
.....
documentaries ..............................................................................................................
BFMTV 0.40.70.91.41.8
. . . . . . . . . . . . . . . . 2,01,93,84,8
...................................................................................
sport ..............................................................................................................
i>télé 0.30.50.70.80.8
. . . . . . . . . . . . . .10,09,73,73,4
.....................................................................................
youth programs ..............................................................................................................
Direct Star/D17 0.50.71.01.21.2
. . . . . . . . . . . . . . . . .7,7
. . . . . . . . . . . . . . . . . . . . . . . . . .7,69,28,9
........................................................
TV commercials ..............................................................................................................
Gulli 1.51.82.22.11.9
. . . . . . . . . . . . . . . . .7,87,23,43,2
..................................................................................
other . . . . . . . . . . . 100,0100,0100,0100,0
........................................................................................
total L
TV airing and TV viewing,
by type of programs (%)1
1
On national FTA channels (TF1, France 2, France 3,
France 4 and Gulli).
Source: Médiamétrie-Médiamat, viewers ages four and up.
Explanation: in 2012, news broadcast represent 2.3% of
programming on the national FTA channels in time and
10.9% of TV viewing time on these channels.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.1
.......
other channels1 12.612.712.211.6
total 100.0100.0100.0100.0100.0
...............................................................................................................
K
Share of national viewership,
by channel (%)
1
Specialty, local, regional, interactive, foreign,
and other channels.
Source: Médiamétrie-Médiamat, viewers ages four and up.
02
M
Specialty channel viewing declined
Methodology
Mediamat’Thématik is the measure of television
viewership for people who receive channels via cable,
satellite or ADSL, whether or not they subscribe to pay
channels. Since March 2010, it has replaced the
MediaCabSat study, which measured television viewers
in households that subscribed to cable or CanalSat
(by satellite or ADSL).
The number of individuals living in a household subscribing
to pay cable, satellite or ADSL decreased by 7.1% to
13.8 million in February 2013 (14.9 million in February 2012).
This figure included 3.7 million with cable (-12.1%) and
10.3 million with CanalSat (-4.8%). Thus, 23.4% of the
population aged 4 and up subscribed to pay specialty
channels (-2.0 points). At the same time, Médiamétrie
counted 24.6 million viewers with ADSL television
(+32.9%). The viewing time for TV-owning households
with an expanded television package was not as high as
the viewing time of all French people with a television set.
Viewing time totaled 3 hours and 42 minutes, compared
to 3 hours and 55 minutes for all viewers with TVs for
the period between September 2012 and February 2013.
Among subscribers to cable or CanalSat, the viewership
share for traditional national channels was at 59.1%
(-0.1 points in one year), compared to 27.5% for specialty
channels (-1.2 points), 12.4% for free DTT channels
(+0.7 points) and 1.0% for other channels (+0.6 points).
Viewership for specialty channels dropped over the last
two measurement periods after having increased over
the two preceding periods. Of everything covered by
Mediamat’Thématik, viewership for traditional FTA
channels was 63.1% (-0.6 points), compared to 19.9%
for free DTT channels (+2.2 points), 15.6% for specialty
channels (-2.5 points) and 1.4% for other channels
(+0.9 points).
Among the 99 specialty channels studied by
Mediamat’Thématik, Disney Channel was the top
channel in terms of viewership share (0.9% of all people
with an expanded television package), ahead of Canal+
Sport (0.7%), Paris Première, RTL9, Teva and TV Breizh
(0.6% each) during the period from September 2012 to
February 2013. Disney Channel had the sharpest growth
(+0.2 points), while Canal+ Cinéma, Canal+ Sport, Jimmy
and TV Breizh recorded the biggest drop (-0.2 points
each). In the end, eight channels had a viewership greater
than or equal to 0.5% (eleven channels a year earlier).
The combined viewership share for the seven Ciné+
channels decreased 0.2 points to 0.9%. The movie channel
TCM remained stable at a 0.1% viewership share
traditionalincluding
national
other
specialty channelschannels1channels
total
Jan.-June 2003 . . . . . . . . . . . . . .65.934.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
. . . . . . . . . . . . . .65.934.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2003-Feb. 2004 . . . . . . . . . . . . . .64.835.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2004 . . . . . . . . . . . . . .62.837.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2004-Feb. 2005 . . . . . . . . . . . . . .62.837.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2005 . . . . . . . . . . . . . .64.036.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2005-Feb. 2006 . . . . . . . . . . . . . . 63.136.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . nd
. . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2006 . . . . . . . . . . . . . .63.436.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30.3
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2006-Feb. 2007 . . . . . . . . . . . . . .64.036.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.5
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2007 . . . . . . . . . . . . . .62.537.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29.1
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2007-Feb. 2008 . . . . . . . . . . . . . . 61.638.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.6
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2008 . . . . . . . . . . . . . .60.639.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.9
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2008-Feb. 2009 . . . . . . . . . . . . . .60.939.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.3
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2009 . . . . . . . . . . . . . . 61.039.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.6
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2009-Feb. 2010 . . . . . . . . . . . . . .60.939.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.7
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
March-June 2010 . . . . . . . . . . . . . . 61.238.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.2
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2010-Feb. 2011 . . . . . . . . . . . . . . 60.139.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.9
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2011 . . . . . . . . . . . . . .59.240.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.7
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2011-Feb. 2012 . . . . . . . . . . . . . .59.340.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.4
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Jan.-June 2012 . . . . . . . . . . . . . . 59.140.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.5
. . . . . . . . . . . . . . . . . . . . . 100.0
..........
Sept. 2012-Feb. 2013 M
Cable, ADSL and satellite channel
viewership share (in %)
1
Specialty, DTT, local, regional, and foreign channels.
Source: Mediametrie-MediaCabSat until February 2010,
then Mediamat’Thematik from March 2010 on viewers four
years old and up with a subscription to an extended package.
N
Biggest viewership for film on TV was recorded
by an American film
In 2012, there were seven films in the top 100 television
audiences of the year, including three foreign films and
four French films, all broadcast on TF1. The biggest
viewership for film on TV was recorded by the premiere of
American film Gran Torino (9.4 million viewers).
The 13th airing of the film Les Bronzés Font du Ski
recorded the largest viewership for French films (9.0 million
viewers). Six FTA channels captured their biggest
audiences of the year with a film: Arte, W9, TMC, NT1,
France 4 and Gulli. French films had the biggest
viewership on France 3, M6 and Gulli. American fims
were on top for TF1, France 2, Arte, Direct 8/D8, W9, TMC,
NT1, NRJ12 and France 4. The American film The Bodyguard,
broadcast on TMC, had the biggest audience for DTT
channels out of all programs in 2012 (2.1 million viewers).
O
French fiction had the biggest fiction viewership
on France 3, France 5, Arte, Direct 8/D8, W9, NT1 and
NRJ12
In 2012, fiction garnered 43 of the top 100 television
audiences (76 in 2011). The presence of American series
in the ranking dropped significantly. The ranking included
38 episodes of American series (72 in 2011), mostly from
three series (21 episodes of The Mentalist, 9 episodes of
Criminal Minds, and 7 episodes of House), and five French
fictions (four in 2011) – five episodes of Nos Chers Voisins.
French fiction appeared on the list of the five top fiction
audiences for each of traditional FTA channels (recurring
fiction appeared only once). The top fiction audiences
were for American or British fictions on TF1, France 2,
M6, TMC, France 4 and Gulli, and for French fictions on
France 3, France 5, Arte, Direct 8/D8, W9, NT1, NRJ12.
Complete results on fiction broadcasting and viewership
are available in the study on fiction on television in 2012
published in April 2013 and can be downloaded
at www.cnc.fr.
02
air
air
ratingshare
titledate
country2ranking
(%)
(%)
air
air
ratingshare
titledate
country2ranking
(%)
(%)
TF1
W9
.....................................................................................................................................................................................................................................
Gran Torino
11/03/12
US
1
16.136.9
. . . . . . . . . . . . . .Woman
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
. . . . . . . . . . . . . . . . . . . . . . . . . .3.27.8
.........................
Pretty
Ice Age: Dawn of the Dinosaurs
28/10/12
US
1
15.633.6
. . . . . . . . . . . . . . . in
. . . . .Britain
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16/07/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
. . . . . . . . . . . . . . . . . . . . . . . . . .2.76.6
.........................
Asterix
.....................................................................................................................................................................................................................................
. . . . . . . . Bronzés
. . . . . . . . . . . . . . . . . font
. . . . . . . . . du
. . . . . . ski
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
. . . . . . . . . . . . . . . . . . . . . . . . . . 15.432.6
............................
Les
. . . . . . . . . . . . . . . Versus
. . . . . . . . . . . . . . .Cesar
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09/07/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.76.5
.........................
Asterix
. . . . . . . . . . . .look
. . . . . . . . . Now:
. . . . . . . . . . . We’re
. . . . . . . . . . . .Being
. . . . . . . . . . . . Shot
. . . . . . . . . . At
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR/GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . .15.135.2
...........................
Don’t
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . .2.75.7
.........................
Wanted
. . . . . . . . . . . . . . . and
. . . . . . . . .Obelix
. . . . . . . . . . . . .Meet
. . . . . . . . . . . Cleopatra
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04/03/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . . . 14.331.6
............................
Asterix
. . . . . . . . . . . . . .McPhee
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . . . . . .2.76.2
.........................
Nanny
France 2
TMC
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . . . . . . . . . 10.926.7
............................
Titanic
. . . . . . . . .Bodyguard
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.57.5
.........................
The
. . . . . . . . . . . . . . . sa
. . . . . .mère!
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . . . . . . . . . 10.421.4
............................
Neuilly
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. . . . . . . . . . . . . . . . . . . . . . . . . .3.27.4
.........................
Armageddon
. . . . . . . . . . . . . . . . . . . .Gangster
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR/IT/DE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.220.2
.........................
Monsieur
. . . . . . . . . . . . . . . . . . Park
. . . . . . . . . . III
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22/03/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
. . . . . . . . . . . . . . . . . . . . . . . . . .3.06.8
.........................
Jurassic
. . . . . . . . .Chorus
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04/03/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR/CH
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . . . . . .9.219.2
.........................
The
. . . . . . . . .Visitors
. . . . . . . . . . . . . . . .II:
. . . . Corridors
. . . . . . . . . . . . . . . . . . . .of
. . . . time
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
. . . . . . . . . . . . . . . . . . . . . . . . . .2.96.4
.........................
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . .8.919.1
.........................
Camping
. . . . . . .a
. . . Legend
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . .2.85.9
.........................
I. . .Am
France 3
NT1
.....................................................................................................................................................................................................................................
The Wedding Cake
13/09/12
FR
1
6.414.5
. . . . . . . . .Bourne
. . . . . . . . . . . . . . .Supremacy
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . . . . . .3.17.0
.........................
The
Atlantic Wall
30/08/12
FR/IT
18
6.314.8
. . . . . . . . .Happening
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
. . . . . . . . . . . . . . . . . . . . . . . . . .3.06.3
.........................
The
.....................................................................................................................................................................................................................................
. . . . . . . . .Crimson
. . . . . . . . . . . . . . . . .Rivers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20/09/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . . . . . . . . . . . .5.914.0
.........................
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . .2.55.7
.........................
Shooter
. . . . . . . and
. . . . . . . . .My
. . . . . . .Sister
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . .5.611.7
.........................
Me
. . . . . . . . . . . to
. . . . . the
. . . . . . . .Future
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.14.6
.........................
Back
.....................................................................................................................................................................................................................................
A Year in My life
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24/05/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . .2.15.1
.........................
300
M6
NRJ12
06/09/12
FR
2
5.312.4
.....................................................................................................................................................................................................................................
Would I Lie To You? 2
31/01/12
FR
4
10.422.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . .2.75.7
.........................
Eragon
Tell No One
15/10/12
FR
2
8.721.2
. . . . . . . . . .&
. . . . Furious
. . . . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . .2.14.5
.........................
Fast
.....................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................
Knowing
24/01/12
AU
1
8.218.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06/03/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . . . . . . . . . . . .2.14.2
.........................
Garfield
.....................................................................................................................................................................................................................................
Up
08/04/12
US
1
8.118.9
. . . . . . . . . 2:
. . . . .State
. . . . . . . . . . . .of
. . . . the
. . . . . . . .Union
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14/05/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . .1.94.1
.........................
XXX
.....................................................................................................................................................................................................................................
2012
18/12/12
US
1
8.019.1
. . . . . . . . .Ninth
. . . . . . . . . . . Gate
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26/11/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR/ES
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . . . . . . . . . .1.84.2
.........................
The
Arte
France 4
The Pledge
N
.....................................................................................................................................................................................................................................
22/05/12
US
1
2.96.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . .2.86.3
.........................
Monster-in-law
. . . . . . . . .M
. . . . .for
. . . . . . Murder
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.96.5
.........................
Dial
. . . . . . . . . . . . . . . . . . . . Dundee
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26/08/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AU
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.76.9
.........................
Crocodile
. . . . . . . . .Night
. . . . . . . . . . . Caller
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02/07/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.86.4
.........................
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . . . . . . . . . . . .2.67.0
.........................
Titanic
. . . . . . . . .Firm
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. . . . . . . . . . . . . . . . . . . . . . . . . .2.76.4
.........................
The
. . . . . . . . . . . Hour
. . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . .2.65.4
.........................
Rush
. . . . . . . . .Godfather
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
. . . . . . . . . . . . . . . . . . . . . . . . . .2.76.7
.........................
The
. . . . . . . . . . . . . . . . . . . . . . .2:
. . . . .Judgment
. . . . . . . . . . . . . . . . . . . . Day
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . . . . . . . . . .2.24.7
.........................
Terminator
Direct 8/D8
Gulli
. . . . . . . . . . Plains
. . . . . . . . . . . . . .Drifter
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.55.3
.........................
High
. . . . . . . . .of
. . . . .the
. . . . . . . Buttons
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.85.8
.........................
War
. . . . . . . . .Tatooed
. . . . . . . . . . . . . . . . One
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR/IT
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.14.5
.........................
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . .1.83.8
.........................
Barnyard
. . . . . . . . .Client
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
. . . . . . . . . . . . . . . . . . . . . . . . . .2.14.8
.........................
The
. . . . . . . . . . . . . . . of
. . . . . the
. . . . . . . .Jungle
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . .1.73.8
.........................
George
. . . . . . . . . . . . . . .Dollar
. . . . . . . . . . . . .Baby
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . .2.04.8
.........................
Million
. . . . . . . . . . . . . . . . . Away
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
. . . . . . . . . . . . . . . . . . . . . . . . . . .1.73.8
.........................
Flushed
. . . . . . . . .13th
. . . . . . . . . Warrior
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . .2.04.4
.........................
The
. . . . . . . . . . . . . .Stallion
. . . . . . . . . . . . . . . .of
. . . . .the
. . . . . . . Cimarron
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
. . . . . . . . . . . . . . . . . . . . . . . . . . .1.63.1
.........................
Spirit:
Highest rated films on television for 2012¹
Rating: 1 % = 589,380 viewers four years and older.
¹ Only the best viewership appears for films aired on the same channel several times.
² AU: Australia / CH: Switzerland / DE: Germany / ES: Spain / FR: France / GB: United Kingdom / IT: Italy / US: United States.
Source: Médiamat-Médiamétrie, CNC.
airrating share
titledate
country2
(%)
(%)
Direct 8/D8
Braquo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR2.04.8
................................................................
TF1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.134.9
.....................................
Mentalist
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US15.631.2
.................................................................
House
. . . . . . . . . chers
. . . . . . . . . . . . voisins
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18/09/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR15.534.9
................................................................
Nos
Désiré
. . . . . . . . . . . . . . Landru
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR1.23.2
................................................................
The
. . . . . . . . .Count
. . . . . . . . . . . . of
. . . . .Monte
. . . . . . . . . . . . . .Cristo
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR1.24.6
................................................................
Navarro
03/12/12
FR 1.18.2
Day of Disaster
21/04/12
DE 1.12.6
.................................................................................................................................................................................................................
.................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . .Minds
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05/09/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . .15.135.0
.....................................
Criminal
. . . . . . . . . NY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US14.028.6
.................................................................
CSI:
W9
Kaamelott
26/02/12
FR2.68.5
Glee
18/04/12
US2.35.1
.................................................................................................................................................................................................................
France 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US12.323.9
.................................................................
Castle
. . . . . . . . . . Case
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US12.024.5
.................................................................
Cold
. . . . . . Smala
. . . . . . . . . . . . . .s’en
. . . . . . . . .mêle
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR10.422.3
................................................................
La
.................................................................................................................................................................................................................
. . . . . . . . .Worst
. . . . . . . . . . . .Week
. . . . . . . . . . . .of
. . . . .my
. . . . . . Life
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR2.14.6
................................................................
The
. . . . . . . to
. . . . . Me
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US2.04.7
.................................................................
Lie
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR1.97.7
................................................................
Soda
. . . . . . . . Petits
. . . . . . . . . . . . .Meurtres
. . . . . . . . . . . . . . . . . . . d’Agatha
. . . . . . . . . . . . . . . . . . .Christie
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.921.8
...................................
Les
. . . . . . . . Hommes
. . . . . . . . . . . . . . . . . . .de
. . . . . l’ombre
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.720.1
...................................
Les
TMC
Law and Order
25/03/12
US2.25.0
Le Secret du manoir
08/01/12
US2.08.2
Une femme d’honneur
28/07/12
FR2.06.2
Christmas Crash
30/12/12
CA1.96.5
The Keeper
04/10/12
US1.94.4
.................................................................................................................................................................................................................
France 3
.................................................................................................................................................................................................................
. . . . . . . . . .belle
. . . . . . . . . . .la
. . . . vie
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28/03/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR10.822.9
................................................................
Plus
.................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15/05/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.619.9
...................................
Murdered
.................................................................................................................................................................................................................
. . . . . . . . . . . . . . . .d’accueil
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.117.3
...................................
Famille
.................................................................................................................................................................................................................
. . . . . . .crime
. . . . . . . . . . . .oublié
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.618.1
...................................
Un
. . . . . . . . . . . . . . . . . . . 327
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16/12/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.415.4
...................................
Chambre
NT1
Sœur Thérèse.com
04/07/12
FR2.35.5
La Colère du volcan
02/05/12
DE1.93.7
Ice
13/06/12
Beauté fatale
09/12/12
Killing Point
25/01/12
.................................................................................................................................................................................................................
France 5
. . . . . . .soie
. . . . . . . . .et
. . . . .de
. . . . . cendre
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR2.34.8
................................................................
De
. . . . . . . . .Queen
. . . . . . . . . . . . .and
. . . . . . . . the
. . . . . . . .Cardinal
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR2.34.5
................................................................
The
. . . . . . . . . . .Maupassant
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09/04/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR2.24.2
................................................................
Chez
.................................................................................................................................................................................................................
GB / NZ
1.7
3.9
.................................................................................................................................................................................................................
FR1.73.7
.................................................................................................................................................................................................................
CA / US
1.6
3.4
.................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . .les
. . . . . . .orages
. . . . . . . . . . . . . .de
. . . . . .la
. . . . passion
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12/11/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR1.94.1
................................................................
Climats,
. . . . . . .siècle
. . . . . . . . . . . .de
. . . . . .Maupassant
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR1.93.8
................................................................
Au
NRJ12
Alice Nevers, le juge est une femme
29/12/12
FR2.66.2
Le Juge est une femme
20/04/12
FR2.24.7
Les Cordier, juge et flic
28/12/12
FR2.04.6
True Justice
24/04/12
Commissaire Cordier
07/12/12
.................................................................................................................................................................................................................
M6
.................................................................................................................................................................................................................
. . . . . . . . . . . . Naval
. . . . . . . . . . . . .Criminal
. . . . . . . . . . . . . . . . . Investigative
. . . . . . . . . . . . . . . . . . . . . . . . . . .Service
. . . . . . . . . . . . . . . . . . . . . . . . . . . 10/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US12.326.6
.................................................................
NCIS:
.................................................................................................................................................................................................................
. . . . . . . . . . . . . . . .de
. . . . . .ménages
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR10.724.2
................................................................
Scènes
.................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06/09/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.421.3
...................................
Bones
.................................................................................................................................................................................................................
CA / US
2.0
4.0
FR1.84.1
. . . . . . . . . . . . . . . . . .Minds:
. . . . . . . . . . . . . . Suspect
. . . . . . . . . . . . . . . . . .Behavior
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.317.4
...................................
Criminal
. . . . . . . . . . . . Los
. . . . . . . . Angeles
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11/05/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.716.8
...................................
NCIS:
France 4
Sherlock
28/03/12
Thick as Thieves
05/03/12
US / DE
GB2.86.0
2.2
Belly of the Beast
23/05/12
CA / HK / GB
2.0
4.5
End Game
13/06/12
DE / US / CA
2.0
4.4
Without a Trace
05/07/12
.................................................................................................................................................................................................................
Arte
. . . . . . . . . . . soient-ils
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11/10/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR2.96.1
................................................................
Ainsi
. . . . . . . . . . .Eyre
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07/09/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GB2.25.9
.................................................................
Jane
. . . . . . . . . .things
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10/02/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FR1.94.2
................................................................
Fine
4.5
.................................................................................................................................................................................................................
.................................................................................................................................................................................................................
.................................................................................................................................................................................................................
US1.94.5
.................................................................................................................................................................................................................
. . . . . . . . . . . .and
. . . . . . . . Prejudice
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21/06/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GB1.84.1
.................................................................
Pride
. . . . . . . . .Tudors
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12/01/12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IE
. . . . ./. . CA
. . . . . . ./. . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.6
.....
The
O
The top rated fiction programs of 20121
Rating: 1% = 589,380 viewers aged four years and older.
¹ For recurring series, only the best viewership appears in the ranking.
² CA: Canada / DE: Germany / FR: France / GB: United Kingdom / HK: Hong Kong / IE: Ireland / NZ: New-Zealand /
US: United States.
Source: Médiamat – Médiamétrie, CNC.
Gulli
Power Rangers Super Samuraï
07/10/12
US1.29.4
Wilder Days
22/02/12
US1.22.5
.................................................................................................................................................................................................................
.................................................................................................................................................................................................................
Dog Gone
19/10/12
US1.22.8
Annie: A Royal Adventure!
11/04/12
US1.22.5
Une femme dans mon cœur
15/01/12
FR 1.12.3
.................................................................................................................................................................................................................
.................................................................................................................................................................................................................
.................................................................................................................................................................................................................
The Women on the 6th Floor by Philippe Le Guay. © SND.
The Snows of Kilimanjaro by Robert Guédiguian. © Diaphana Distribution.
Nicolas Le Floch. © France 2.
And If We All Lived Together? by Stéphane Robelin. ©Bac Films.
Maison Close. © Jessica Forde / Canal+.
Mice (a Cat) & Men by Camille Bovier-Lapierre. © À droite de la Lune.
Braquo. © Capa Drama / Canal+.
03
03
L’exportation
desTelevision
films et Programs
Export of French
Films and
des programmes audiovisuels français
In 2011, French television program sales abroad increased by 4.8% to €110.6 million.
After having a particularly successful year in 2010, French film export revenue fell by 9.2% in 2011
Ento
2010,
lesmillion,
ventes de
programmes
audiovisuels
français
à l’étranger
progressent
de 5,1
% à in
105,6
M€.
€156.7
which
is the second
highest amount
since
statistics
started being
taken
2003.
Detomême,
les recettes
d’exportation
de films
français
un niveau
sans précédent
According
Unifrance
films, revenue
from French
films
shownatteignent
in foreign theaters
sharply
increased in 2012,
à 172,6with
M€ a(+26,1
rapport
à 2009).
Unifrance,
les€864.2
résultats
en salles
des(+97.5%).
films français
total %
ofpar
138.4
million
ticketsSelon
sold (+86.3%)
and
million
in sales
à l’international augmentent en 2011, avec un total de 71,7 millions d’entrées (+20,3 %)
et 428,9 M€ de recettes guichets (+27,2 %).
Spiral. © Sons et Lumières / Canal+.
Logorama by François Alaux, Hervé de Crécy,
Ludovic Houplain, H5. © Autour de Minuit Productions.
Delicatecy by David et Stéphane Foenkinos. © Studio Canal.
03
Export of French Films and Television Programs
A
EXPORT OF TELEVISION PROGRAMS
In 2011, sales of French television programs abroad
increased slightly for the second year in a row (+4.8%)
to €110.6 million. This growth was still due to animated
films, which grew to €35.3 million (+1.6% compared
to 2010). Sales of documentaries were also up, with
€27.1 million in 2011 (+2.6%). Fiction sales abroad also
increased in 2011 (+4.5% to €20 million), and so did
international sales of fiction, game and variety show
formats, which grew from €17.2 million in 2010 to
€19.8 million in 2011 (+15.4%).
The sales of all genres combined in Western Europe
were stable overall at €61.3 million (-1.4%). Sales in Asia/
Oceania (+40.6%) exceeded, for the first time since 2006,
sales in Central and Eastern Europe, which also
increased (+12.6%). Sales in Latin America and
the Middle East also increased (+12.2% and +2.2%
respectively). Purchases by North America remained
steady (+0.1%). However, exports to Africa lost some
ground with a 15.8% decrease.
140
120
100
106.1
104.3
108.2
2002
2003
2004
112.5
115.0
118.8
110.0
100.4
105.6
110.6
80
60
40
20
0
A
2005
2006
2007
2008
2009
2010
2011
French television program sales abroad (in millions of €)
Source: CNC – TV France International.
B
The financial crisis affected most of the usual
French film export partners, but partially spared some
countries, particularly in Asia and Latin America.
Hourly price erosion of imports continued for both
private and public channels, while the scope and term of
rights requested went up. Because of this complicated
situation, French exporters increased commercial
transactions, able to rely on an increase in French
production, offering more and more creative possibilities
and highlighting a few strong concepts and brands which
opened up new markets to France.
Animation represented about one third of total exports
In 2011, French animation sales abroad grew for the
third year in a row to €35.3 million (+1.6% from 2010).
The genre’s market share accounted for nearly one third
of total sales (32.0%). With a difficult economic context
and increased competition, French programs continued
to grow on the international market. Free-to-air (FTA)
channels in particular focused on acquiring well-known
material, making it possible for them to generate
additional income from new media and derivative rights.
The youth market also experienced an increase in
demand and in the number of customers – youth
channels broadcast by satellite, digitally, and by
new media (VoD, SVoD, IPTV, etc.).
Exports of animated shows to Western Europe decreased
by 0.7% to €21.4 million in 2011. The region was responsible
for 60.5% of that genre’s revenue, compared to 61.9%
in 2010. Italy continued to be the number one buyer of
animation from French distributors. Animation sales
in Asia/Oceania rose by 67.9% to €3.9 million in 2011.
This increase makes this region the second largest
export region ahead of North America. Asia/Oceania
generated 11% of French animation export revenue.
Sales of French animation in North America decreased
by 30.3% to €3.8 million. This region represented 10.7%
of total animation sales, compared to 15.5% in 2010.
The American market is still interested in French animated
programs, even if local competition was stiff in this area.
In Central and Eastern Europe, animation sales hit
€3.1 million in 2011, a decrease of 3.7% compared to
2010. This region was responsible for 8.7% of French
animation exports, compared to 9.2% in 2010.
In 2011, animation sales in Latin America increased
by 117.1% to €2.3 million. Several youth and educational
channels were launched, creating particular demand
for educational and pre-school programs.
Sales of French animation in the Middle East dropped
by 24.7% to €0.7 million.
Almost a quarter of television revenue abroad
generated by documentaries
French documentary sales abroad rose by 2.6% to
€27.1 million in 2011. This genre captured 24.5% of
total revenue, compared to 25.0% in 2010.
In spite of the exposure that event documentary
programming has during primetime, the traditional
channels limited documentary programming. This genre
has been increasingly transferred to dedicated channels,
broadcast on DTT channels, cable or satellite. This
phenomenon lowered the hourly price of documentary
acquisitions and led distributers to buy series or
collections in volume. Similarly, distributers became
interested in docu-style series and other forms of
innovative scriptwriting in order to have recurring
programming and in order to build audience loyalty.
Regarding documentary topics, the “lifestyle” (fashion,
food, etc.), travel and discovery areas continued to
represent a major share of exports. The science and
investigation documentary genres were more in demand
by society to better understand current world problems.
In addition, people preferred programs related to events
of note, such as an anniversary or the news, in particular
the 10th anniversary of the September 11th attacks,
Arab Spring, or the Fukushima catastrophe. These types
of programs were especially in demand in 2011.
Buyers preferred long series to fill their programming
line-up and build audience loyalty. To meet this demand,
buyers did not hesitate to develop low-cost “lifestyle,”
discovery and travel productions that are purchased in
the entire world. In 2011, Western Europe remained the
largest market for French documentaries, with a stable
share of 49.2% of total revenue. Documentary sales in
North America rose by 1.4% to €4.1 million. French
Canada was the number one player for several French
companies. The United States did not buy very many
French documentaries. Purchases of documentaries in
Central and Eastern Europe saw growth in 2011 (+23.2%
to €3.6 million), a market share increase of 2.2 percentage
points to 13.4% of total sales. In Asia, French documentary
sales rose 4.8% to €3.6 million in 2011. Japan and South
Korea were preferred partners. Australia continued to be
a major partner via its channel, SBS. In the Middle East,
French documentary sales were at €1.4 million in 2011,
compared to €1.5 million in 2010. The region preferred
investigative topics related to political current events.
With revenue of €0.8 million in 2011 (€0.7 million in 2010),
French documentary exports were not high in Latin
America.
evol.
20072008120092010 2011 11/10
. . . . .41.730.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.934.835.3+1.6%
.......................................................................
animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.1+2.6%
...............................
documentary 30.228.723.226.4
. . . .22.0
. . . . . . . . . . . . . . . . . . . .26.8
. . . . . . . . . . . . . . . . . . . . 21.6
. . . . . . . . . . . . . . . . . . . . 19.1
. . . . . . . . . . . . . . . . . . . .20.0+4.5%
...............................
fiction . . . . . . . . . . . . .13.0
. . . . . . . . . . . . . . . . . . . .16.4
. . . . . . . . . . . . . . . . . . . . 17.2
. . . . . . . . . . . . . . . . . . . .19.8+15.4%
...............................
format (fiction, games, variety shows) . . . . . . . . . . .-
. . . . 12.4----
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
format, news, various . . . . . . . . . . . . . . . . . . . . . . . . . . .7.84.44.34.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0.6%
............
music, live shows 6.6
. . . . . . 5.9---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . ..
game, variety shows . . . . . . . . . . .-
. . . . . . . . . . . . . . . .3.1
. . . . . . . . . . . . . . . . . . . 2.9
. . . . . . . . . . . . . . . . . . . . 3.8
. . . . . . . . . . . . . . . . . . . . 4.1+6.7%
.............................
misc. (information, excerpts, etc.) . . . . . . . . . . . . . . . . . . . . . .110.0100.4105.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110.6
. . . . . . . . . . . . . . . . . . . . .+4.8%
............
total 118.8
B
Exports of French television programs
by genre (in millions of €)
1
In 2008, categories were modified to distinguish format
sales from sales of information and excerpts.
Source : CNC – TV France International.
03
Fiction sales once again on the rise
In 2011, French fiction sales abroad rose (+4.5% to
€20.0 million) after falling for two years in a row.
The share of the genre was the same as in 2010 at 18.1%
of total sales.
This growth occurred despite stiff competition, with the
emergence of Scandinavian, Turkish, and Korean fiction
programs in addition to the usual American, South
American, British and German fiction programs.
As a result, French production changed, with more
52-minute series and new and original scripts.
Some areas continued to buy made-for-television films,
mini-series and classic collections (thrillers, romantic
comedies or comedy-drama), such as the Italian
broadcast networks for day-time programming, and
Eastern Europe. Series with new scriptwriting, comedies
and crime series allowed France to conquer new markets
and new customers, notably commercial channels.
These fiction programs were also sold in the form of
adaptation rights. A new trend also emerged in 2011 with
the growth of French majority and minority series shot in
English, making it possible to penetrate Anglo-Saxon and
international markets.
In 2011, fiction sales in Western Europe rose 2% to
€12.1 million. This region is the main export market
for French fiction, with 60.4% of total revenue in 2011
(-1.4 percentage points compared to 2010). Italy
succeeded Spain as leading buyer of French fiction and
continued to buy long-form crime series. French fiction
sales in Central and Eastern Europe rose 6.0% to
€3.5 million. Russia remained a major purchasing region.
Sales in North America rose 30.8% to €1.8 million. This
region is difficult to penetrate because of competition
from local series. However, there is still opportunity in
remake sales. In Canada, VoD opened new doors to
increase exposure of French programs. The share of
French fiction sales in Asia/Oceania remained stable at
6.7% in 2011. Despite the cultural barriers, French fiction
sales increased in the emerging countries of Asia and in
Japan. In the Middle East, sales were low, but steady at
€0.4 million in 2011.
Considerable increase in format sales
Sales of French formats (fiction, games and variety
shows) abroad continued to rise, from €17.2 million in
2010 to €19.8 million in 2011 (+15.4%). Because of this
slight increase, format sales rose to 18% of total sales
in 2011. The format sales market grew, with channels
wanting to increase local production by relying on good
scripts, concepts and formats that have proven
themselves abroad. The market is supported by game
shows and entertainment, and also scripts involving
a hybrid of documentary-style reality shows,
documentary-style fiction programs, fiction-style reality
programs, and to a lesser extent, fiction programs.
French programming content was well characterized by
talk shows, game shows and entertainment. It grew
alongside fiction and reality television using original
formats. In 2011, most format sales revenue came from
Western Europe (down 6.5 percentage points to 55.9%).
Central and Eastern Europe were responsible for 15.2%
of French format purchases in 2011, compared to 13.9%
in 2010. In 2011, Asia and Oceania’s share rose to 15.7%
of total format sales revenue. French format sales in
the Middle East rose 70.0% to €0.7 million in 2011.
French formats sales in North America reached record
levels with an increase of 129.8% to €1.2 million. Quebec
is a regular buyer of French formats for local adaptation.
In 2011, exports of musical programs and live shows were
stable at €4.3 million (+0.6%). Sales in the “miscellaneous”
category, which includes information programs and
excerpts, grew 6.7% to €4.1 million.
C
Stabilization in large European countries
Sales of all genres combined in Western Europe were
stable at €61.3 million in 2011 (-1.4% compared to 2010),
remaining under the 60.0% mark for total sales of French
programs abroad. The growth of DTT channels made it
possible to progressively increase rates without actually
hitting the previous prices of traditional FTA channels.
Italy, the main market for French programs, saw a slight
increase in purchases in 2011 (+11.4% to €12.3 million),
after decreasing for three years in a row. Acquisition costs
were still not as high as they were previously, but remained
high and channels were still able to retain interest
and audience loyalty for all French programming genres.
France’s number two partner, with €8.6 million (-15.2%),
the German-speaking region (Germany and Austria)
had a better year financially in 2011 with increased local
production and decreased imports of French programs,
notably in animation (-40.2%), fiction (-11.3%) and in
formats (-33.6%).
In 2011, exports of French television programs to Spain fell
(9.1% to €8 million), after a stable year in 2010. Spain is one
of the countries that was most affected by the crisis.
The United Kingdom significantly increased imports
of French programs, going from €5.2 million in 2010 to
€7.4 million in 2011 (+41.8%). Exports of French programs
to Scandinavia and Iceland decreased in 2011 to €5.6 million
(-24.1%). Also important was the major growth of multicountry sales to Western Europe (+460% to €3.5 million).
Sales of French programs in Central and Eastern Europe
continued to increase (+12.6%). In 2011, Russia experienced
a sharp growth in French program purchases
(+18.9% to €6.8 million).
Sales of French programs in Poland increased to €2.0 million
in 2011 (+24.8%). Exports to the “Czech Republic, Slovakia”
region rose by 10.4% to €1.6 million in 2011. Sales of French
programs in Turkey reached €1.0 million in 2011, an increase
of 6.6% compared to 2010.
Stability in North American markets, growth in Asia
and Australia
In 2011, sales of French television programs to North
America remained stable (+0.1% to €12.2 million).
With €5.9 million in imports in 2011 (+2.1%), Canada
found new life. French program sales to the United
States were also stable in 2011 (-0.8% to €5.6 million).
Exports of French programs to the “Singapore, Indonesia
and other Asian countries” region rose 72.1% to €3.8 million
in 2011. With €3.1 million in 2011 (+42.6%), sales to China,
Hong Kong and Taiwan also increased sharply compared
to 2010. In Japan, French program sales remained stable
around €2.2 million in 2011 (+8.3%). Environmental
disasters halted Japan from re-entering the market
at the beginning of the year. In South Korea,
French program sales rose sharply to €1.2 million in 2011
(+35.4%). Exports to the “Australia, New Zealand” region
also rose to €1.9 million (+57.4%).
Jump in Latin America and the Middle East, drop in
Africa
In 2011, television program exports to Latin America rose
12.2% to €4.1 million. Most sales were to pay channels,
the majority of which were in Mexico (+25.9% to €1.0 million)
and Brazil (-45.7% to €1.1 million). Revenue from television
program exports to the Middle East increased by 2.2%
to €3.4 million in 2011, in spite of the events that troubled
the region. Events in the Arabic world created renewed
interest in news documentaries and regional history.
In 2011, export of French television programs to Africa
reached €1.5 million, representing a 15.8% decrease
compared to 2010.
The results presented above come from a national survey
conducted by the CNC and TV France International of
professionals in production and sales of television
programs. For more details, see the complete study
on the Export of French Television Programs in 2011
published in September 2012, available at www.cnc.fr.
revenue (in millions of €)
market share (%)
evol.
2007200820092010 2011
11/10 2007200820092010 2011
Western Europe . . . . 77.7
. . . . . . . . . . . . . . . . 72.162.962.261.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-1.4%
. . . . . . . . . . . . . . . . . . . . . . 65.465.562.658.955.4
........................................................................
. . . . . . . . . . . . . . . . . . . . . . 5.6
. . . . . . . . . . . . . . . . 8.6
. . . . . . . . . . . . . .10.2
. . . . . . . . . . . . . . . .14.3
. . . . . . . . . . . . . . . . .+40.6%5.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1
. . . . . . . . . . . . . . . .8.5
. . . . . . . . . . . . . . . .9.6
. . . . . . . . . . . . . .12.9
.......
Asia/Oceania 6.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12.6%
. . . . . . . . . . . . . . . . . . . . . . . . . . .10.0
. . . . . . . . . . . . . . . . . .9.710.511.612.5
.....................................................
Central and Eastern Europe . . . . 11.810.710.512.313.8
. . . . . . . . . . . . . . . . . . 8.4
. . . . . . . . . . . . . . . . 9.512.212.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .+0.1%
. . . . . . . . . . . . . . . . . . . . . . . . . . 8.7
. . . . . . . . . . . . . . . . 7.6
. . . . . . . . . . . . . . . .9.411.511.0
.....................................
North America . . . .10.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.72.92.33.53.7
.....................................................................
Latin America . . . . . . 2.03.12.33.74.1+12.2%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +2.2%
. . . . . . . . . . . . . . . . . . . . . . . . . . .3.94.54.63.23.1
.....................................................................
Middle East . . . . . . 4.65.04.63.43.4
. . . . . . 5.95.22.11.81.5-15.8%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.04.72.11.71.4
.....................................................................
Africa total ¹ C
118.8110.0100.4105.6 110.6
+4.8% 100.0100.0100.0100.0100.0
.......................................................................................................................................................................................
French television program exports by geographic zone
1
Including TV5 and CFI sales.
Source: CNC – TV France International.
03
EXPORT REVENUES FROM FRENCH FEATURE FILMS
Methodology
Revenue from abroad included in the study conducted
by the CNC on the export of French films in 2011 is from
2011. Due to the significant delay between the time that
a contract is signed and the collection of payment from
said contract, the proceeds presented here mostly
reflect sales that these companies made in 2009, 2010
and early 2011. Thus, the proceeds presented here do
not reflect export company activity in 2011, but instead
the sales that these companies made during the
two preceding years. Revenues correspond primarily to
the collection of minimum guarantees paid by foreign
distributors. The gap that normally appears between
CNC data and Unifrance films data on the export
of French films is explained by a different scope of
analysis. Unifrance films counts box-office receipts for
films released in 2011, while the CNC takes into account
net receipts, including all media, by exporters in 2011
for films that were released in theaters in 2011 or earlier.
D
After particularly high results in 2010, French film export
revenue posted a decrease of 9.2% in 2011 to €156.7 million,
the highest level since the study began in 2003. Between
2003 and 2011, revenues rose 3.0% a year on average.
This decrease in ticket sales for French films in 2011
should be put into perspective with the increase of
French film attendance abroad. According to Unifrance
films, French films earned 74.3 million in admissions
abroad in 2011, a 24.0% rise compared to 2010.
Box-office receipts rose even more sharply (+29.3%)
to €437.6 million. As indicated opposite, the gap between
CNC data and Unifrance films data is explained by a
different scope of analysis.
In 2011, French exporter revenue resulting from foreign
film export slightly decreased: -16.7%, to €76.5 million.
Foreign film sales abroad represented 32.8% of export
revenue for films by French companies in 2011, a decrease
of 1.9 percentage points compared to 2010.
revenue (in millions of €)
market share (%)
French foreign French foreign films 1films
totalfilms 1films
total
2007 131.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62.7
. . . . . . . . . . . . . . . . . .194.167.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.3
. . . . . . . . . . . . . . . .100.0
..........
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.3
. . . . . . . . . . . . . . . . . 189.674.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.5
. . . . . . . . . . . . . . . .100.0
..........
2008 141.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89.6
. . . . . . . . . . . . . . . . . 226.560.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39.5
. . . . . . . . . . . . . . . .100.0
..........
2009 136.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91.8
. . . . . . . . . . . . . . . . . 264.565.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34.7
. . . . . . . . . . . . . . . .100.0
..........
2010 172.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76.5
. . . . . . . . . . . . . . . . . 233.267.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.8
. . . . . . . . . . . . . . . .100.0
..........
2011 156.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-11.8%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . . . . . . . . -....................
evol. 11/10 . . . . .-9.2%-16.7%
D
Export revenue based on film country of origin
1
Including French minority and majority co-productions.
Source: CNC.
E
F
In 2011 revenue from exports of recent French films
(produced after January 1st, 2008) came to €130.0 million,
a 12.9% decrease compared to 2010, but a 7.3% increase
compared to 2009. Revenue from exports of French stock
films (produced before January 1st, 2008) increased for
the second year in a row (+14.1% to €26.7 million). During
the 2003-2011 period, export revenue for recent French
films has grown annually by 3.9%, whereas French stock
films decreased slightly (on average by 0.7% per year).
Stock films accounted for 17.0% of export revenue
earned in 2011 (+3.5 points compared to 2010 and
the highest share since 2005).
revenue marketchange
(in million of €)
share (%)
11/10 (%)
United States + miscellaneous countries ¹ . . . . . . . . . . . . . . . . . . . .22.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.1-10.8
.................................
. . . . . . . . . . . . . . . . . . . . 20.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . .12.8+4.1
.................................
Germany and/or German-speaking regions . . . . . . . . . . . . . . . . . . . .18.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.9-8.0
.................................
United States and/or English-speaking Canada . . . . . . . . . . . . . . . . . . . . . . 9.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.2-7.8
...............................
United Kingdom and/or Ireland Major regions
In 2011, investments were slightly less concentrated than
in 2010: the top 15 countries generated 80.8% of takings
(82.3% in 2010) and the top six countries represented
more than half (54.7%).
Like in 2010, the region comprising the United States
and miscellaneous countries came first in the ranking of
countries for French film export in 2011, with €22.2 million
in revenue and a 14.1% market share. Exports to Germany
and German-speaking regions increased by 4.1% in 2011.
This region is still an important outlet for French films.
With €20.1 million, the market share of this region rose
to 12.8% of total revenue for French film export. In 2011,
the total amount of revenue from the region comprising
the United States and English-speaking Canada
decreased by 8.0% to €18.6 million. This revenue is the
third highest in the ranking with a market share of 11.9%.
2011 was a great year for Brazil, which, thanks to a 133.8%
increase in revenue to €2.8 million, is one of the top 15
countries buying French films.
. . . . . . . . . . . . . . . . . . . . . . .8.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2+8.1
...............................
CIS . . . . . . . . . . . . . . . . . . . . . . .7.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . 4.5+14.4
...............................
Benelux . . . . . . . . . . . . . . . . . . . . . . .7.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . 4.5-9.0
...............................
Spain revenue (in millions of €)
. . . . . . . . . . . . . . . . . . . . . . 6.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.3-34.6
...............................
Japan market share (%)
. . . . . . . . . . . . . . . . . . . . . . 6.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.9-25.1
...............................
Belgium stock recent stock films films ¹films 2
totalfilms ¹films 2
. . . . . . . . . . . . . . . . . . . . . . 4.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.9-42.9
...............................
Italy total
. . . . . . . . . . . . . . . . . . . . . . 4.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.7+14.6
...............................
Switzerland (non-German-speaking regions) 2007 . . . . . . . .18.9112.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131.4
. . . . . . . . . . 14.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85.7
. . . . . . . . . . . . . . . .100.0
..........
. . . . . . . . 16.7124.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141.3
. . . . . . . . . . 11.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88.2
. . . . . . . . . . . . . . . . .100.0
..........
2008 . . . . . . . . . . . . . . . . . . . . . . 3.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.2-31.2
...............................
Scandinavia . . . . . . . . . . . . . . . . . . . . . . 3.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.1-14.9
..............................
Poland . . . . . . . . 15.7121.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136.9
. . . . . . . . . . . 11.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88.6
. . . . . . . . . . . . . . . .100.0
..........
2009 . . . . . . . . . . . . . . . . . . . . . . 2.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.8+133.8
...............................
Brazil . . . . . . . .23.4149.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172.6
. . . . . . . . . . . 13.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86.5
. . . . . . . . . . . . . . . . .100.0
..........
2010 . . . . . . . . . . . . . . . . . . . . . . 2.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.6-35.1
...............................
Australia and/or New Zealand . . . . . . . .26.7130.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156.7
. . . . . . . . . . . 17.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83.0
. . . . . . . . . . . . . . . . .100.0
..........
2011 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -9.2%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . . . . . -....................
evol. 11/10 . . . . . . .14.1%-12.9%
. . . . . . . . . . . . . . . . . .156.7100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-9.2
.......
total E
. . . . . . . . . . . . . . . . . .126.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80.8-9.9
.................................
total top fifteen Export revenue based on production date
of French films
Films produced before 2004 for 2007, before 2005 for 2008,
before 2006 for 2009, before 2007 for 2010, and before 2008 for 2011.
2
Films produced after 2004 for 2007, after 2005 for 2008, after 2006
for 2009, after 2007 for 2010, and after 2008 for 2011.
Source : CNC.
1
F
The top fifteen countries in
terms of French film export
revenue in 2011
¹ Transfer agreement with an American
distributor who is then responsible for
broadcasting the work in the Americas
and in other countries.
Source: CNC.
03
G
Geographic distribution of French film exports
In 2011, Western Europe remained the primary region for
French films with 42.2% of total revenue (€66.1 million,
-10.7% compared to 2010). Between 2003 and 2011,
exports to this region rose on average 0.4% a year and
represented 46.8% of total revenue. In 2011, despite its
significance, Western Europe’s contribution to revenues
was the lowest it has been since the study began.
Since 2010, this decrease in revenue in Western Europe is
explained by sharp growth in North America. The region
came in second among continents importing French films,
with 28.5% of revenue, representing +0.9 percentage points
compared to 2010 and +6.0 points compared to 2009.
At €44.7 million in 2011, French film export revenue from
North America dropped (-6.4%) compared to the last year.
In 2011, Central and Eastern Europe maintained third
place among French film buyers with a stable market
share (10.7% of film export revenue, compared to 10.2%
in 2010). Revenue generated by Central and Eastern
Europe slightly decreased (-4.9% compared to 2010)
to €16.8 million.
After a sharp increase in 2010, exports to Asia decreased
in 2011 (-27.4% to €12.0 million) and the region’s market
reached 7.6% (-1.9 percentage points compared to 2010).
In 2011, the other geographic areas occupied a more
limited position in the French film export market,
with market shares between 0.4% for Africa and 4.7%
for Latin America. However, note the growth of sales by
almost one third (+32.8%) to Latin America, representing
4.7% of total revenue for 2011 (1.5 more percentage points
than in 2010).
H
Companies exporting French films
The export market remains concentrated. The top three
export companies represented 63.6% of revenue earned
for French film sales abroad in 2011 (64.2% in 2010).
Five companies earned more than €10 million (as in 2010)
and took 82.3% of total French film revenue abroad
(79.6% in 2010). In 2011, no company earned export
revenue between €5 million and €10 million (this was the
case for two companies in 2010). There were 11 companies
earning between €1 million and €5 million in 2011 (8 in
2010); they earned 15.8% of total revenue (8.4% in 2010).
Seven companies declared less than €1 million in French
film export revenue (nine in 2010) and represented 1.9%
of tickets (2.3% in 2010).
Misceallaneous
1.6%
Middle East
2.0%
Oceania
2.2%
Latin America
4.7%
Asia
7.6%
Western Europe
42.2%
Central and
Eastern Europe
10.7%
Complete results on the Export of French Films in 2011
were published in October 2012 and can be viewed at
www.cnc.fr.
North America
28.5%
G
Distribution of French film export revenue
in 2011 by geographic zone
Source: CNC.
number of companies
200720082009 2010 2011
revenue share (%)
200720082009 2010 2011
more than €10 million . . . . . . . . . .65555
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76.7
. . . . . . . . . . . . . . . .74.3
. . . . . . . . . . . . . . . .75.0
. . . . . . . . . . . . . . . .79.6
. . . . . . . . . . . . . . . 82.3
.........
. . . . . . . . . .1112
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . . . . . . . . . . . . . . . .5.8
. . . . . . . . . . . . . . . .6.4
. . . . . . . . . . . . . . . . 7.0
. . . . . . . . . . . . . . . .9.8
. . . . . . . . . . . . . . . . . . . ...
between €5 million and €10 million . . . . . . . . . . 711
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. . . . . . . . . . . . . . . .811
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16.1
. . . . . . . . . . . . . . . .18.9
. . . . . . . . . . . . . . . .15.4
. . . . . . . . . . . . . . . . . .8.4
. . . . . . . . . . . . . .15.8
........
between €1 million and €5 million . . . . . . . . . . 34897
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.5
. . . . . . . . . . . . . . . .0.4
. . . . . . . . . . . . . . . .2.6
. . . . . . . . . . . . . . . .2.3
. . . . . . . . . . . . . . . .1.9
......
less than €1 million total H
Africa
0.4%
17
21
22
24
23
100.0100.0100.0100.0100.0
............................................................................................................................................................................
Companies according to their French film export revenues
Source: CNC.
I
FRENCH FILM ADMISSIONS ABROAD IN 2012
Methodology
The results of French films in foreign theaters are
collected by Unifrance films as part of its mission to
track economic data for French films abroad. This data
comes from official bodies and are combined with data
from distributors and television attachés for exhaustive
market results. This data includes French films as
defined by the CNC and covers a total of 79 countries.
Films are divided into two categories: films with French
majority funding (called French initiative films) and
films with French minority funding. The results for
French minority films are not counted in the country
where they are majority films. The 2012 data presented
here end at the beginning of April 2013. Regarding
results for French short film export, data presented
below come from statements from Unifrance films
members for the year 2011.
140
Outstanding performance of French film admissions
abroad in 2012
In 2012, French films saw 138.4 million admissions abroad,
representing growth of 86.3% compared to 2011, a much
higher growth compared to the previous record in 2008
(83.2 million admissions). Box-office receipts increased
even more (+97.5%) to €864.2 million, the highest level of
the decade. This revenue is mainly due to the outstanding
performances of Taken 2 (47.3 million admissions),
The Intouchables (29.9 million admissions), and The Artist
(12 million admissions), which alone represented 65%
of French film admissions abroad. The Intouchables is
the most successful French-language film abroad,
while Taken 2 was the most successful French
production outside of the France.
At the same time, the number of French films scheduled
for foreign screens kept rising in 2012, with 537 films
(511 titles in 2011, 431 in 2010).
138.4
120
100
1000
80
60
40
62.9
49.4 50.0
800
83.2
77.2
71.7
67.2
74.3
60.0
20
600
400
200
0
0
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
I
Tickets sold for French films abroad (in millions)
Source: Unifrance films (data updated for previous years).
I
J
Western Europe still the biggest foreign consumer of
French films in theaters
Generating 37.6% of French film admissions abroad
(-2.8 percentage points compared to 2011), Western Europe
was still the biggest consumer of French films in theaters.
French film attendance had record numbers in 13 countries
in the region. Only Belgium numbers fell in 2012 (-5.1%),
after posting good results in 2011 for Nothing to Declare
and The Intouchables. In 2012, ten French films exceeded
100,000 admissions in Belgium. Results for French films
in Switzerland rose 40.5% in 2012, to 2.8 million
admissions. With 1.4 million admissions, The Intouchables
became the second most successful film in Belgian
theaters behind Titanic. In Germany, French film
attendance increased sharply (+136.5% to 15 million
admissions). 14 films exceeded 100 000 admissions,
six of which exceeded 300,000 admissions. Of these,
All Together (404,000 admissions) and When Pigs Have
Wings (144,000 admissions). The Intouchables reached
8.9 million admissions in 2012, which is higher than all
French films released in Germany in 2011.
In the United Kingdom, French film attendance observed
in 2012 an increase of 156.5%, to 8 million admissions.
Taken 2 and The Artist are the two most successful films
in this area since the new millennium, with 4 million and
1.7 million admissions respectively.
By the Mediterranean, the Spanish, Italian, and Greek
markets, although losing traction, were still successful
regarding French films. French film attendance rose
864.2
51.1% in Spain to 6.5 million admissions (2.5 million for
The Intouchables, the greatest French success ever
recorded). 11 French films exceeded 100,000 admissions
437.6
416.2
388.8
in Spain, including In The House (206,000 admissions),
354
.
0
350.3 338.3
332.1
254.5 242.2
Delicacy, The Women on the 6th Floor and The Snows of
Kilimanjaro (more than 150,000 admissions each).
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
In Italy, French cinema totaled 7 million admissions in
2012 (+49.7% compared to 2011);
Ticket sales from French films abroad (in millions of €)
13 films reached more than 100,000 admissions,
Source: Unifrance films (data updated for previous years).
including Love, What’s in a Name and Little White Lies.
03
In Greece, French films reached 1 million admissions,
three films accounting for more than 100,000 admissions.
French film attendance in Turkey doubled in 2012 and
exceeded one million admissions for the first time.
In the Netherlands, it exceeded 2 million admissions.
En 2012, North America was the second largest market
for French films (23.2% of total admissions abroad).
Its market share decreased by 8.5 percentage points
compared to 2011.
The United-States and the English-speaking Canada
accounted for 30.6 million admissions, a 46.3% increase
compared to 2011: the successes of Taken 2 (17.3 million
admissions) and The Artist (5.7 million admissions) were
decisive. Several other films won over North American
audiences: The Intouchables (1.3 million admissions),
but also Farewell, My Queen (170,000 admissions) and
The Other Son (148,000 admissions).
French film attendance in Quebec again exceeded one
million admissions in 2012, of which 362,000 admissions
were for The Intouchables and about 300,000 admissions
were for Taken 2.
The Asian region’s market share of French film
admissions abroad increased sharply in 2012
(+5.9 percentage points to 13.3%): Asia ranked third in
French film attendance. Taken 2 and, to a lesser extent, The
Intouchables, were mainly responsible for this situation.
South Korean attendance had a record 6.2 million
admissions for French films (+324.7% compared to 2011).
Attendance of French films increased by 168.9% in
China, to 4.7 million admissions (including 3.4 million for
Taken 2), while in Japan, French films admissions rose
188.2% to 2.5 million in 2012.
French film admission share in Central and Eastern
Europe was stable (+0.1 percentage point to 9.2%).
In Russia, French films attendance increased by 46.8%
to 6.1 million admissions in 2012. Many films were popular,
such as Astérix and Obélix: God Save Britannia, The Artist,
HOUBA! On the Trail of the Marsupilami and The Players.
In Poland, 9 films exceeded 100,000 admissions and
French film attendance reached a record of 3.8 million
admissions in 2012 (+228.5% compared to 2011).
In 2012, Latin America’s share of international French
film attendance rose (+5.2 percentage points to 11.6%
of admissions). The Intouchables, Taken 2 and The Artist
were responsible for the excellent results in the major
Latin American countries. In 2012, Brazil established
itself more as a major country for French cinema,
with 4.2 million admissions (+51.2%); with one million
admissions, The Intouchables is the most successful
French-language film ever recorded by Unifrance films.
After three years of decline, Mexico accounted for 6.3 million
admissions for French films in 2012, including 1.6 million
for The Intouchables, representing a 328.3% increase
compared to 2011. French film attendance in Colombia
increased for the third year in a row (+142.3% to 1.4 million
admissions in 2012).
Oceania’s share of international French film attendance
remained stable in 2012 at 3.2% (down 0.3 percentage
point). French films totaled 4.4 million admissions.
The Intouchables (464,000 admissions) exceeded
admissions for The Artist (394,000). French film attendance
in Australia rose sharply in 2012 (+146.7%) to 3.6 million
admissions.
Africa
Middle-East 0.5%
1.4%
Oceania
3.2%
Asia
13.3%
Western Europe
37.6%
Latin America
11.6%
North America
23.2%
J
Eastern & Central Europe
9.2%
Distribution of French film admissions
abroad in 2012, by geographic area
Source: Unifrance films.
84.7% of admissions for French initiative films
In 2012, the share of admissions for French initiative
films out of total French film admissions abroad was
84.7%, compared to 48.7% in 2011. With 117.3 million
admissions in 2012 (36.2 million in 2011), attendance
for French majority films more than tripled in terms
of absolute value (+223.6%), boosted by Taken 2,
an English-speaking film.
While The Intouchables and The Artist both totaled
42 million admissions in 2012, more than 20 million
admissions were due to the other majority Frenchlanguage films. Thus, Astérix and Obélix: God Save
Britannia, A Monster in Paris and Love exceeded one
million admissions in 2012. In this period, eight other
films generated between 500,000 and 1 million
admissions, including HOUBA! On the Trail of the
Marsupilami, What’s in a Name, Delicacy, The Women
on the 6th Floor and Rust and Bone. 30 other films
generated between 100,000 and 500,000 admissions,
such as In The House, The Snows of Kilimanjaro, Farewell,
My Queen, Chicken With Plums and Holy Motors.
Minority French-language films accounted for 2 million
admissions abroad in 2012, being the second best
performance of the last ten years, thanks to author films
such as Le Havre or Elles.
Sales of French short films abroad decreased in 2011
Methodology
Each year, Unifrance films performs a study of
the distribution of French short films in the world.
They contact producers and distributers of short films
and ask them to provide, film by film, information
relating to sales of their short films. The following
analyses indicate total sales in 2011 by sellers of short
films. Since 2010, leasing to festivals and promotional
sales at institutions are also taken into account in the
study. Sales by Arte, TV5 Monde, Canal+ Afrique and
Ciné+ are also collected and included in the results.
In 2011, net revenue earned by French short films abroad
was estimated at close to €488,200 by Unifrance films,
a decrease of 25.2% compared to 2010. 1,064 short French
films were sold abroad in 2011 (-12.9% compared to
2010), involving 528 different films (795 films in 2010).
Fiction remained the top exported short film genre, with
61.3% of revenue and 40% of films sold, or 3.2 percentage
points and 21.6 points less than in 2010, respectively.
Remember that the short film agency sold a large number
of films to the Russian buyer Mini Movie in 2010; the drop
in the number of films is thus partly due to this previous
sale.
French animation was a particularly appealing genre for
all types of buyers in 2011. Animation films represented
48.2% of total sales volume (33.1% in 2010). Revenue
share of exported short films remained stable (32.9% of
total sales in 2011, 30.6% in 2010) due to a lack of strong
films compared to 2010, during which films with many
awards, such as Logorama and Oktapodi were massively
sold at very high prices.
In terms of number of films, documentaries sold better
in 2011 (8.1% of films sold), than in 2010 (4.6%).
Total documentary sales were still low (5.1% of the total
in 2011, compared to 4.7% in 2010). The experimental
genre was again low both in number of films sold
(3.7%, compared to 0.7% in 2010) and in terms of revenue
generated (0.8% in 2011, 0.1% in 2010).
There were five animated films among the ten short films
that generated the most revenue. In parallel, the ten most
sold films were also animated films. Awarded at the Oscars,
Logorama, by François Alaux, Hervé de Crécy and Ludovic
Houplain, was the biggest hit of the year abroad in terms
of both number of sales and sales figures, for the second
year in a row. Two other animation films dominated sales
in 2011: Mice (a Cat) & Men by Camille Bovier-Lapierre
and The Monster of Nix by Rosto.
Most short film sales abroad involved the shortest
formats. Films less than 30 minutes represented
approximately 90% of the international market, both in
number of sales (92.8% in 2011, 95.8% in 2010) and total
sales (89.5% in 2011, 89.9% in 2010). In 2011, films less
than 10 minutes were the most in demand, capturing
45.3% of the total number of sales. They generated 30%
of total sales.
Buyers naturally preferred the most recent short films.
Films less than four years old represented 54.4% of films
sold abroad in 2011 (30.6% in 2010). They were originally
responsible for two thirds of transactions (66.9%) and
more than three quarters of total sales generated (78%).
Television remains the preferred medium for
broadcasting short films. In 2011, exhibition rights of
short films on television generated 67.4% of total sales
abroad (78.1% in 2010), but only concerned 35.3% of
transactions (66.4% in 2010). Exhibition rights for
theaters represented 54% of sales and 20.1% of revenue.
Like in 2010, rights granted worldwide dominated French
short film exports in 2011, with 22.5% of overall revenue
(23.9% in 2010). Spain was ranked second with 9.8% of
revenue in 2011. Italy ranked third with 9.3% of revenue
(12.1% in 2010). In terms of number of sales, “worldwide”
was first, with 102 purchases of French short films
in 2011 (9.6% of the total). It is followed by Spain
(92 purchases, 8.6%) and Taiwan (88 purchases, 8.3%).
Les Petits Meurtres d’Agatha Christie. © France 2.
Détours de mob. © Arte France.
Fais pas çi, fais pas ça. © France 2.
Bref. © Canal+.
Chambre 327. © France 3.
Un village français. © France 3.
04
Electronics and Household Spending on Film,
Video and Television
Le Cerveau d’Hugo
by Sophie Révil. © France 2.
Household spending on film, video, and television decreased by 1.3% to €8.064 billion in 2012.
The video market (both physical and VoD) decreased by 5.4%. Spending on movie tickets decreased by 5.0%.
Spending on television (license fee to public television services and subscriptions) increased by 0.8%.
As for electronics, tablet sales were strongly on the rise while 3D TV
and Internet-compatible TV sales increased at a slower pace than predicted.
Vic le Viking. © DR / TF1.
Soda. © M6.
Il était une fois les mille et une nuits by Catherine Ulmer-Lopez,
Bruno Ulmer et Hélène Cohen. © 13 Productions / Arte France.
04
Electronics and Household Spending on Film, Video and Television
A
HOUSEHOLD SPENDING ON FILM, VIDEO, AND TELEVISION
150
In 2012, household spending on film, video, and television
decreased by 1.3% compared to 2011 to €8.064 billion
(€8.167 billion in 2011), whereas total consumer household
spending increased by 1.6% (+2.3% in 2011).
The decrease in spending on film, video and television can
be explained by a decrease in spending on physical video
media (-9.0%) and on films (-5.0%), while spending saw
an increase for video on demand (+14.7%) and public
television contributions (+1.9%). Spending on subscription
television services was steady (+0.2%).
In 2012, French households spent an average of
€293.7 on film, video and television, a 1.9% decrease
compared to 2011. Spending on television (license fee
and subscriptions) averaged €196.2 per household
in 2012 (+0.2%). Pay-TV subscriptions remained the leading
expense in the film, video and television category. In 2012,
they cost an average of €121.7 per household (-0.5%).
Each household spent an average of €74.5 (+1.3%) on public
television (the TV portion of contributions to public
broadcasting services, excluding external audiovisual
services), €47.6 (-5.6%) on movie tickets and €40.8 (-9.6%)
on home video purchases and rentals. Average household
spending on video on demand was €9.2 in 2012, compared
to €8.0 in 2011 (+14.0%).
145
140
135
130
125
120
115
110
105
100
2000
A
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
Changes in household spending1
1
Index base 100 in 2000, updated data.
Sources: Canal+ – GfK – NPA Conseil – IDATE – Finance Law – SEVN - CNC.
total household consumer spending
household spending on film, video and TV
2003200420052006200720082009 2010201142012
...............................................................................................................................................................................................
TV license fee 1,6031,6771,7341,7631,7641,8631,8921,9492,0072,045
1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3,1573,2453,3513,2563,2673,3353,340
.................................................................................................................................
TV subscriptions2 2,8412,8952,990
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,4141,4061,4021,232
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,121
.........
physical videos3 1,7722,0491,8891,7371,543
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
. . . . . . . . . . . . . . . . . . . 29
. . . . . . . . . . . . . . . . . . . . 53
. . . . . . . . . . . . . . . . . . . . 97
. . . . . . . . . . . . . . . . . .152
. . . . . . . . . . . . . . . . . . . .219
. . . . . . . . . . . . . . . . . . . .252
......
on demand video ---
. . . . . . . . . . . . . . . . . 1,1391,031
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,1211,062
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,1421,2361,3091,3741,306
.........................................................................................
cinema . . . . .996
. . . . . . . . . . . . . . . . . . . .7,7607,644
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7,792
. . . . . . . . . . . . . . . . . . . 7,642
. . . . . . . . . . . . . . . . . . . . 7,824
. . . . . . . . . . . . . . . . . . . . 7,8878,079
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8,1678,064
..............................
total . .7,212
A
Household spending on film, video and television (in millions of €)
Former audiovisual tax, TV share.
Canal+, cable, and satellite (estimated figures).
SEVN data tracking of home video purchases and rentals. Until 2003, it included sales
at supermarkets, specialized superstores, and via mail order. As of 2004, Internet sales
have also been included. Magazine stand sales are excluded.
4
Updated data.
1
2
3
2012
B
Television accounted for over two thirds of spending
The share of household film, video and television spending
going toward pay television was 41.4% in 2012, compared
to 40.8% in 2011. The share of contributions to public
television services reached its highest level since 2000.
It accounted for 25.4% of total expenses in 2012,
i.e. 0.8 points more than in 2011. All together, households
devoted 66.8% of their film, video and television spending
to television (65.4% in 2011).
The share of video purchases and rentals decreased within
overall household film, video, and television spending for
the eighth year in a row. Physical video media accounted
for 13.9% of total expenses in 2012, compared to 15.1%
in 2011. Taking into account spending on video on demand
(VoD), video lost 0.8 points overall in 2012, down to 17.0%.
The share of VoD accounted for 3.1% of household TV,
video, and cinema spending in 2012, compared to 2.7%
in 2011.
The share of movie theater spending decreased by 0.6 points
in one year, to 16.2% of total spending in 2012.
100%
37.6
80%
60%
14.8
15.0
29.5
21.5
40.7
29.2
16.8
C
Increased spending on public TV services
In 2012, household spending on public television (the TV
portion of contributions to public broadcasting services,
excluding external audiovisual services) increased
by 1.9% compared to 2011, up to €2,045 million.
Since 2009, the license fee has been indexed based on
changes in the consumer price index. In 2012, the fee for
all television-owning households subject to the French
habitation tax (26.6 million households in 2012), was
€125 in mainland France and €80 in overseas French
departments. These amounts represent an increase
of 1.6% and 1.3%, respectively, compared to 2011.
The amount of fees collected, minus collection fees,
increased by 4.2% to €2.764 billion in 2012.
16.2
2.7
3.1
15.1
13.9
40.8
41.4
At the same time, exemption reimbursements, mainly
due to tax cuts for the elderly not liable to the tax and
covered by the Government general budget, decreased
by 7.6% to €526 million in 2012 (€515 million before tax).
In all, the amount received by national public television
services, which collected 72.8% of resources, was
stable (-0.1%).
Due to the nature of contributions to public television
services, household spending to pay the tax did not directly
indicate consumer behavior. Rather, this spending illustrated
the French government’s tax policy objectives for financing
the public aspect of the television sector. TV contribution
spending is dependent on the tax amount, changes in the
total number of television sets, current exemption policies,
and how the contributions are divided up to fund public
television and radio.
collected contribution
€2,808 million
collection costs
€44 million
net collected
contribution (incl. taxes)
(TTC) €2,764 million
tax relief refund
(tax included)
€526 million
VAT
€58 million
available
contribution receipts
€2,706 million
tax relief refund
(before tax)
€515 million
28.7
40%
33.3
27.1
20%
22.8
24.6
25.4
0%
1982
B
1992
2002
2011
2012
Household film, video, and television spending breakdown (%)
TV license fee
pay-TV subscriptions
physical video media
VoD
cinema
TV
72.8%
C
radio
19.1%
INA
2.9%
VAT
€11 million
external
services
5.2%
Contributions to public television services in 2012
Source: Finance Law.
04
D
Stability of the pay television market
The pay television market has been affected by the
stagnation of the French economy. Household spending
on pay television (Canal+, cable and satellite) was steady
at €3.340 billion in 2012 (+0.2%). Revenue from Canal+
subscriptions increased by 1.6% due to the increase
in subscription fees. The total number of subscribers to
Canal+ France, including clients in mainland France,
in French overseas departments and Africa, increased
by 1.3%. Total subscriptions rose to 11.4 million in 2012
(11.2 million in 2011), of which 5.5 million were Canal+
subscriptions (stable from 2011). In mainland France,
the number of subscriptions to Canal+ group pay television
offers decreased by 0.8% to 9.7 million in 2012 (9.8 million
in 2011). The average revenue per user for Canal+ group
pay television offers in mainland France increased by 1.1%
between 2011 and 2012, to €576.
Video market (physical video media and VoD)
declined by 5.4%
Market growth for video on demand (VoD) did not
compensate for the decline in the physical video media
market in 2012. The entire video market (rental and sales,
physical and VoD) decreased by 5.4% between 2011 and
2012 to €1.373 billion. VoD rentals increased significantly,
while physical video media sales declined.
The physical video media market (sales and rentals)
was at its lowest level since 2000. Household spending
on physical video media was €1.121 billion in 2012
(€1.232 billion in 2011). Video purchases declined
by 8.7% to €1.116 billion. While DVD revenue decreased
by 12.3% to €893 million, Blu-ray revenue increased
by 9.3% to €224 million. The physical rental market
is disappearing. Spending on physical rentals decreased
by 49.6% to €5 million (0.4% of the physical video media
market). In 2012, the volume of DVDs and Blu-rays sold
4 000
3 500
3 000
2 500
2 000
1 500
1 000
500
0
2003
D
2004
2005
2006
2007
2008
2009
2010
2011
Changes in household spending on film,
video and television (in millions of €)
TV subscriptions
TV license fee
physical video media
movie tickets
VoD
2012
decreased by 6.8% compared to 2011. There were 14.1 million
Blu-ray units sold, compared to 12.6 million the previous
year, while DVD sales declined to 105.9 million units
(116.2 million in 2011). The average sales price of a DVD
(including all packaging) decreased by 2.9% for catalog
films and by 3.2% for new releases. The average price
for a Blu-ray disc (including all packaging), which remained
at a higher level, increased by 2.6% for catalog films and
declined by 3.5% for new releases.
According to the GfK-NPA barometer, the VoD market
was estimated at €252 million in 2012, i.e., an increase
of 14.7% compared to 2011. The number of VoD transactions
increased to 43.4 million (+15.8%). Rentals accounted
for the overwhelming majority of the virtual video market.
Following four years of increase, movie theater
spending declined
In 2012, household spending on movie tickets decreased
by 5.0% compared to 2011, to €1.306 billion. These results
are explained by the drop in movie theater attendance
(admissions down 6.3% compared to 2011); average movie
ticket prices increased by 1.4% in 2012. Average movie
ticket purchases came to 7.4 admissions per household
in 2012, compared to 8.0 admissions in 2011. Spending
on movie tickets was greater than spending on physical
video media for the second year in a row.
E
AUDIOVISUAL EQUIPMENT IN FRENCH HOUSEHOLDS
Television set sales dropped by 23.0% in 2012
According to GfK and Médiamétrie, the proportion
of households with at least one television remained stable
at 98.3% in 2012. Following eight years of increase, television
set sales in France decreased by 23.0% in 2012. According
to GfK, sales totaled 6.7 million units in 2012, compared
to 8.7 million in 2011. This change can essentially be
explained by the end of purchases related to the shift
to digitization, the analog switch off having occurred
across the country by the end of 2011. GfK estimated
that sales of television sets will continue to decrease
in the next three years, and that the sales volume will be
6.0 million units in 2013 and 5.5 million units in 2015.
According to the Référence des Equipements Multimédias
(GfK-Médiamétrie), the number of TV-owning households
with a flat-screen TV increased by 5.4 points to 83.6%
in 2012. 79.6% of TV-owning households had a high definition
TV in 2012, i.e., a 5.7 point increase in one year. In 2012,
97.3% of TV-owning households had a DTT decoder
(including those integrated into a TV), compared to 93.5%
in 2011. Home theater systems had a narrower audience:
4.0 million households had them, i.e., 14.9% of TV-owning
households. The number of households equipped with
home theaters increased slightly (+0.3 points compared
to 2011). In 2012, 14.1% of TV-owning households had
an Internet-compatible TV, compared to 7.7% in 2011.
Following terrestrial reception, ADSL was the second-ranked
television reception mode, ahead of satellite and cable.
According to GfK and Médiamétrie, 59.6% of French
households received television signal via the terrestrial
network (-2.7 points compared to 2011), 37.1% via ADSL
(+6.3 points), 24.7% via satellite (+0.3 points) and
9.0% via cable (-1.3 points). According to the French
Telecommunications and Posts Regulator (ARCEP)’s
Electronic Communications Markets Observatory, France
had 24.0 million subscriptions to high-speed broadband
Internet connections as of December 31, 2012 including
22.0 million via ADSL (i.e., 91.7%). The number of Internet
subscriptions increased by 5.4% compared to the end
of 2011. Broadband access went up 4.5% to 22.4 million
and access to high-speed broadband increased
by 19.1% to 1.6 million.
millions of households
% of TV households
20082009 2010 2011 201220082009 2010 2011 2012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87.5
.......
home DVD player 22.724.024.624.423.688.990.192.090.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.3
. . . . . . . . . . . . . . . . . . . . 6.7---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.8
. . . . . . . . . . . . . . . . . . . 24.8
........
Blu-ray player1 ---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.8
. . . . . . . . . . . . . . . . . . . .8.9
. . . . . . . . . . . . . . . . . . 61.153.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.236.732.9
...............................................
VCR 15.614.312.6
...............................................................................................................................................................................................
video game console 10.411.612.813.013.940.743.847.848.751.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21.022.640.354.169.578.283.6
...............................................................................................................................
flat screen 10.314.418.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.1
. . . . . . . . . . . . . . . . . . .3.8---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.7
. . . . . . . . . . . . . . . . . .14.1
.......
Internet-compatible TVs ---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97.3
.......
DTT decoder2 12.518.022.925.026.249.067.885.993.5
. . . . . . 3.2
. . . . . . . . . . . . . . . . . . . . 3.6
. . . . . . . . . . . . . . . . . . . . 3.8
. . . . . . . . . . . . . . . . . . . . 3.9
. . . . . . . . . . . . . . . . . . . .4.012.613.614.114.614.9
.........................................................................................................
home theater E
French household electronic equipment
Home Blu-ray player, PS3 console, home gateway device.
Including integrated into TV set.
Source: GfK-Médiamétrie (Multimedia equipment reference – fourth quarter).
1
2
04
F
Sales of home Blu-ray players stabilized
In 2012, the sales volume for video players (DVD and Blu-ray
players) reached a new low. With 2.4 million units sold for
all products, sales decreased by 17.7% compared to 2011.
Home DVD players remained the bestselling type of video
player in 2012, even as their sales volume declined
by 18.2% compared to 2011, down to under one million
units. The number of TV-owning households with home
DVD players decreased for the second year in a row,
according to the Référence des Equipements Multimédias
(-3.4 points to 87.5% in 2012). VCR sales are no longer
counted as of 2011. The rate of VCR ownership continued
to decline: it decreased by 3.8 points compared to 2011,
down to 32.9% of TV-owning households.
Portable DVD player sales went down 14.7% to 477,000 units,
making them the third-ranked category of video players
in terms of volume sold. The number of households with
a portable DVD player dropped by 0.9 points to 8.9% in 2012.
The market for DVD player/recorders was also on the decline.
The three types of DVD player/recorders existing on the
market (basic, DVD/VCR combos, and those with hard drives)
showed a 50.5% drop in total sales in 2012 (229,000 units).
The number of households with a DVD player/recorder
continued to drop (0.6 points to 16.0% in 2012).
After four years of increase, home Blu-ray player sales
volume stabilized (+1.4% in 2012). Sales reached 750,000
units in 2012, compared to 740,000 units in 2011. In 2012,
home Blu-ray players accounted for 30.6% of total video
player sales by volume in and 40.9% by value. The share
of TV-owning households equipped with home Blu-ray
players was 8.1% in 2012, compared to 7.4% in 2011.
The proportion of households with any type of high
definition player (home Blu-ray player, PS3 console, home
gateway device) reached 24.8% in 2012 (19.8% in 2011),
with PS3 consoles still being the most widely-owned
HD players (16.3% in 2012).
2003200420052006200720082009 2010 2011 2012
. .1,450950475475330200140
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
. . . . . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . ..
VCRs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2,1001,8001,600
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,212
. . . . . . . . . . . . . . . . . . . . . . .991
......
home DVD players . .4,1305,2504,4503,5002,800
. . . . . . . . . .9
. . . . . . . . . . . . . . . . . .75350700850680690580559477
...................................................................................................................................................................
portable DVD players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
. . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . ..
DVD/VCR combos 350550550310190120
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
. . . . . . . . . . . . . . . . . . . . . . 50
. . . . . . . . . . . . . . . . . . . . 42
. . . . . . . . . . . . . . . . . . . .72
....
DVD player/recorders 200480600500330220
DVD recorder/VCR combos -
30
200
300
220
180
130
80
95
94
...............................................................................................................................................................................................
. . . . . . . . . .4100350680700620460350326
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
....
DVD recorders with hard drives home HD players1 F
-
-
-
-
28
119
256
574
740
750
...............................................................................................................................................................................................
Video player purchases (in thousands of units)
1
Blu-ray, developed by Sony, became the premium high definition media in 2008.
Source: GfK.
G
3D TV & Internet-compatible TV:
sales lower than predicted
The adoption of new television screens (3D TV, Internetcompatible TV) is slower than expected. In 2012, 3D TV
sales rose to 1.2 million units (+69.0% compared to 2011)
and Internet-compatible TV sales reached 1.6 million units
(+6.7%) according to GfK, while predictions had been
1.5 million and 2.7 million units, respectively. Sales of
3D screens accounted for 17.9% of total television sales,
compared to 23.9% for Internet-compatible sets.
The lack of a single standard (active, passive, or glassesfree technology) as well as the limited appeal
of 3D content, are the main obstacles to the adoption
of 3D TVs. Internet-compatible TVs, which provide access
to new services on television screens via the Internet,
require an increase in consumer awareness (particularly
via demonstrations at the retail location), as the benefits
and functions they provide are still unclear to the public.
The services available via Internet-compatible TV could
seem redundant when compared to those proposed
by ADSL television.
Smartphones and tablets, however, still drew a large
portion of the general public. According to Médiamétrie,
55.8% of cell phone owners had a smartphone in the third
quarter of 2012 (40.0% in the third quarter of 2011).
With more functions than a regular cell phone, these phones
have larger screens and allow for easier web browsing, as
well as TV and video viewing. According to GfK, smartphone
sales reached 13.5 million units in 2012 (i.e., 59.0% of total
cell phone sales), compared to 11.5 million in 2011.
The growth in French smartphone ownership resulted
in an increase in Internet use and TV viewing via cell phones.
According to a CREDOC survey on the dissemination
of information and communication technologies in French
society, 33% of French individuals aged 12 and over who
owned a cell phone had used their phones to surf the web
in 2012, i.e., an increase of 9 points compared to 2011.
TV viewing via cell phones was less common, but this
practice was on the rise: 9% of cell phone owners had done
it in 2012, compared to 8% in 2011. These practices were
most common within the 18-24 age group: 61% had gone
online (+15 points) and 21% had watched television on
their cell phones.
Positioned between smartphones and laptops, tablets
once again recorded higher sales than predicted.
In 2012, tablet sales increased to 3.6 million units
(1.5 million in 2011). At the same time, the average price
of a tablet dropped by 22.1% to €325. More than a quarter
of tablet sales were for those priced under €200 in 2012.
According to the Référence des Equipements Multimédias,
14.1% of French households had a tablet by the end
of 2012. Equipped with a wide screen and a virtual keyboard,
a tablet allows users to surf the web (using WiFi or 3G),
watch videos, play video games, listen to music and read
digital books.
According to GfK, 15.2 million smartphones and 5.1 million
tablets will be sold in France in 2013.
2009 2010 2011 2012
. . . . . . . . . . . . . . 150
. . . . . . . . . . . . . . . . . . . . 7101,200
..........................
3D TVs . . . . . . . . . . .-
Internet-compatible TVs 300
775
1 500
1,600
.......................................................................
. . . . . . . . . . . . . . . . . . . . .7,700
. . . . . . . . . . . . . . . . . 11,50013,500
................................
smartphones . 3,600
. . . . . . . . . . . . . .4351,5003,600
..............................................
tablets . . . . . . . . . . .-
G
New screen purchases
(in thousands of units)
Source: GfK.
My Way by Florent Emilio Siri.
Ducoboo 2: Crazy Vacation by Philippe Chauveron. © UGC Distribution.
Porn in the Hood by Franck Gastambide.
© John Waxxx / Save Ferris / Mandarin Cinéma / Gaumont.
Kirikou and the Men and the Women by Michel Ocelot.
Haute Cuisine by Christian Vincent. © Tibo & Anouchka / Wild Bunch Distribution.
Populaire by Régis Roinsard. © Mars Distribution.
In the House by François Ozon. © Mars Distribution.
05
Movie Theater Audiences
In 2012, nearly two thirds of French individuals aged six and over,
i.e. nearly 38.0 million, went at least once to a movie theater. Each moviegoer went
to the movies an average of 5.4 times during the year.
Un plan parfait by Pascal Chaumeil. © Universal Pictures International France.
Zarafa by Rémi Bezançon and Jean-Christophe Lie. © Prima Linea Productions / Pathé Productions / France 3 Cinéma / Chaocorp / Scope Picture / Pathé Distribution.
Mince alors! by Charlotte de Turckheim. © UGC Distribution.
05
MOVIE THEATER AUDIENCES IN 2012
A
Médiamétrie Movie Theater Surveys
Information given on movie theater audiences is taken
from the 75,000 Cinema survey conducted by
the Médiamétrie institute. The survey is representative
of the mainland French population aged six and over.
Definitions
The movie-going population refers to all individuals
aged six and over who went to the movie theater
at least once during the year.
The penetration rate for a group of individuals is
the result of the following equation:
Movie-going population of that group
/ total population of that group.
The proportion of a group of individuals in the audience
structure is the result of the following equation:
Individuals concerned
/ movie-going population.
The proportion of a group of individuals in the
admission structure is the result of the following
equation:
Admissions by the individuals concerned
/ total admissions.
The average number of admissions for a group
of individuals corresponds to the average number
of annual admissions for an individual in that group
of moviegoers.
Frequent moviegoers go to the movie theater at least
once per week, regular moviegoers attend at least once
per month (but less than once per week) and occasional
moviegoers go at least once per year (but less than
once per month). Habitual moviegoers include both
frequent and regular moviegoers.
B
Decreased number of moviegoers in 2012
The year 2012 was marked by a significant drop in the
movie-going population. 37.98 million individuals aged
six and over went to a movie theater at least once.
This result is lower than the numbers recorded in 2010
and 2011, which were over 38 million moviegoers.
The movie-going population included 1.96 million less
individuals than in 2011 (-4.9%). However, this figure
has increased by 17.4% over ten years, i.e., a growth rate
faster than that of the total reference population (+6.3%).
In 2012, the movie-going population represented 65.1%
of the overall population aged six and over, compared to
68.8% in 2011 and 66.9% in 2010. Thus, nearly two thirds
of French people went to a movie theater at least once
in 2012. The average number of admissions per moviegoer
aged six and over remained stable, at 5.4 in 2012.
Men accounted for more admissions
In 2012, men accounted for more movie theater
admissions (50.2% in 2012, compared to 45.7% in 2011)
than women (49.8%, compared to 54.3% in 2011).
Admissions generated by men increased by 3.0% between
2011 and 2012, while attendance by women decreased
by 14.0% (-6.3% for all admissions). Women made up 51.7%
of the French population aged six and over and
represented 52.7% of all moviegoers (52.1% in 2011).
However, the number of women within the movie-going
population decreased by 3.8% between 2011 and 2012;
during the same time, the number of men decreased by
6.1%. 66.4% of women went to the movies at least once
during the year (69.2% in 2011), compared to 63.8% of
men (68.4% in 2011). In 2012, male moviegoers went to
the movie theater more frequently (an average of 5.7 times
in the last year) than female moviegoers (5.1 times).
total
average
population
moviegoers penetration admissions per
(in millions) (in millions)
(%)
moviegoer
2003 54.85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32.35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33.06
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.9
......
2004 55.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.3
......
2005 55.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34.82
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
2006 56.36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34.59
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.2
......
2007 56.66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36.42
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.2
......
2008 57.21
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.6
......
2009 57.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38.62
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
2010 57.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.94
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
2011 58.05
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.98
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
2012 58.31
A
Movie-going population
Source: CNC – Médiamétrie, 75,000 Cinema survey,
age six and over.
roportion of audience
p
admissionaverage
the population
penetrationstructurestructure
number of
(%) (%)(%)(%)
admissions
men . . . . . . . .48.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . .63.847.350.25.7
....................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66.4
. . . . . . . . . . . . . . . . . . . . . . . . . .52.7
. . . . . . . . . . . . . . . . . . . . . . . . . .49.8
. . . . . . . . . . . . . . . . . . . . . . . . . . 5.1
......
women 51.7
. . . . . 100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.1100.0100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
total B
Attendance, by gender in 2012
age six and over.
roportion ofaudience
p
admissionaverage
the population
number of
(%) (%)(%)(%)
admissions
6-10 6.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.2
. . . . . . . . . . . . . . . . . . . . . . . . . .4.83.1
.............................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.6
. . . . . . . . . . . . . . . . . . . . . . . . . . 4.73.8
.............................
11-14 5.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.7
. . . . . . . . . . . . . . . . . . . . . . . . .11.16.8
..............................
15-19 6.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.011.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.8
.....
20-24 6.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69.2
. . . . . . . . . . . . . . . . . . . . . . . . . .13.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 17.5
. . . . . . . . . . . . . . . . . . . . . . . . . .6.7
.....
25-34 13.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.4
. . . . . . . . . . . . . . . . . . . . . . . . . .21.4
. . . . . . . . . . . . . . . . . . . . . . . . . . 17.3
. . . . . . . . . . . . . . . . . . . . . . . . . .4.3
.....
35-49 21.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58.1
. . . . . . . . . . . . . . . . . . . . . . . . . .12.7
. . . . . . . . . . . . . . . . . . . . . . . . . .10.6
. . . . . . . . . . . . . . . . . . . . . . . . . .4.5
.....
50-59 14.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.8
. . . . . . . . . . . . . . . . . . . . . . . . . .20.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . .2.4
. . . . . . . . . . . . . . . . . . . . . . . .5.8
.....
60 and over 26.3
. . . . . 100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.1100.0100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
.....
total C
Attendance, by age in 2012
Source: CNC – Médiamétrie, 75,000 Cinema survey, age six and over.
C
One third of moviegoers over the age of 50
Since 2010, moviegoers aged 50 and over have accounted
for more than half of the movie-going population (54.6%
in 2012, 54.9% in 2011). They accounted for 50.3% of
admissions (53.9% in 2011), i.e., an average of 4.9 admissions
per moviegoer. The percentage of seniors (50 years and
older) within the movie-going population remained stable
at 33.2% in 2012 (33.6% in 2011), as did their share in the
total reference population (40.5% in 2012, 40.2% in 2011).
The number of moviegoers aged 50 and over decreased
by 9.6% between 2011 and 2012 and the average annual
number of admissions per senior was lower in 2012 (5.2)
than in 2011 (5.5). Seniors generated 33.0% of admissions
to movie theaters in 2012, with female seniors accounting
for 17.9%. The rate of movie theater penetration by
moviegoers aged 50 and over was higher among women
(54.4%) than men (52.1%).
Movie theater penetration decreased among people aged
35-49. It went from 67.1% in 2011 to 64.4% in 2012.
The number of moviegoers aged 35-49 decreased
by 4.5% between 2011 and 2012. Nonetheless, the
percentage of people aged 35-49 among all moviegoers
remained steady at 21.4% (21.3% in 2011), even while
their attendance was weaker: the 35-49 age group
accounted for 17.3% of admissions in 2012, compared to
19.7% in 2011, i.e. an average of 4.3 annual admissions
per moviegoer (5.0 in 2011). While overall attendance
decreased by 6.3% between 2011 and 2012, admissions
generated by the 35-49 age group dropped by 17.7%.
The percentage of moviegoers aged 25-34 within general
audiences remained stable (13.9% in 2012, 13.8% in 2011).
Until 2005, this group had always accounted for over 15%
of moviegoers. The number of moviegoers from this age
group dropped by 4.2% between 2011 and 2012. In 2012,
the 25-34 age group accounted for 17.5% of admissions,
compared to 14.3% in 2011. Their share of admissions
was at its highest since 2000. Between 2011 and 2012,
attendance by the 25-34 age group increased by 14.7%
(-6.3% for total attendance). Movie theater penetration
decreased for this age group: 69.2% of people aged
25-34 went to the movie theater at least once 2012,
compared to 71.5% in 2011.
The share of moviegoers under 25 was relatively stable in
2012. They accounted for 31.5% of moviegoers, compared
to 31.3% in 2011, and their number dropped by 4.3%.
Moviegoers under 25 accounted for 32.2% of admissions,
compared to 31.8% in 2011. Until 2000, they had always
accounted for more than 40% of admissions.
They accounted for 5.1% fewer admissions in 2012 than
in 2011. In terms of penetration, movie theaters attracted
the same proportion of young people: 83.0% of individuals
under 25 went to the movie theater in 2012, compared to
87.4% in 2011. Penetration increased among audiences
aged 6-10, to 80.6% (78.2% in 2011), but decreased for
the other under-25 age brackets. It was particularly high
among female teenagers aged 15 to 19 (91.9% of them
had gone to the movie theater in 2012) and for males
of the same age (85.7%).
Differences in attendance patterns remained high in 2012
according to age group. Thus the average threshold of
6 annual admissions was decisive. The 15-34 age range
was above this level (6.8 for the 15-19 bracket, 7.8 for the
20-24 bracket and 6.7 for the 25-34 bracket), while the
other age groups had fewer average admissions (notably,
3.1 admissions for ages 6-10 and 3.8 for ages 11-14).
Since 2011, the share of seniors in audiences has been
larger (33.6% in 2011 and 33.2% in 2012) than that
of young people under the age of 25 (31.3% in 2011 and
31.5% in 2012). The same observation was recorded
for admissions: seniors accounted for 33.0% of theater
admissions in 2012 (34.2% in 2011), while this share was
32.2% for young people (31.8% in 2011).
40
38
36
34
45
40
32
35
30
30
28
25
26
24
20
2003
C
2004
2005
2006
2007
2008
2009
2010
2011
Proportion of young people and seniors in admissions (%)
under 25 years old
over 50 years old
2003
2012
C
2004
2005
2006
2007
2008
2009
2010
2011
2012
Proportion of young people and seniors in audiences (%)
under 25 years old
over 50 years old
05
D
Non-working individuals accounted for 11.2% fewer
admissions than in 2011
In terms of professional categories, members of the upper
socio-professional category were once again the group
most attracted to movie theaters, with a stable rate of
penetration (73.8% of its members went to the theater at
least once in 2012, compared to 75.5% in 2011). This was
particularly true for women, 78.2% of whom went to the
movie theater at least once in 2012 (70.7% for men in the
upper socio-professional category). The average number
of admissions per member of the upper socio-professional
category decreased in 2012 (5.8, compared to 6.2 in 2011).
In 2012, movie theater attendance decreased among
members of the lower socio-professional category:
58.8% of its members attended movie theaters,
compared to 62.4% in 2011. On average, they went to
movie theaters 5.4 times during the year (4.7 in 2011).
This resulted in a higher share of admissions for
members of the lower socio-professional category,
who accounted for 23.5% of attendance in 2012,
compared to 20.4% in 2011. Despite a decrease in moviegoing members of the upper socio-professional class
(-7.3% between 2011 and 2012), their number of
admissions increased (+7.8%).
The penetration rate for non-working individuals
decreased in 2012: 64.5% of people in this category went
to the movie theater at least once (63.9% of men and
64.9% of women), compared to 69.2% in 2011.
For the second year in a row, movie theater penetration
among students declined in 2012: 83.8% of students
went to movie theaters (86.5% in 2011 and 88.3% in
2010). Between 2011 and 2012, the number of student
moviegoers declined (-3.5%), as did their number of
admissions (-9.3%). The penetration rate also declined
among retirees in 2012 to 51.2%, compared to 58.4% in
2011. The number of retired moviegoers decreased by
11.7% compared to 2011, and their theater admissions
dropped by 8.8%.
roportion ofaudience
p
admissionaverage
the population
number of
(%) (%)(%)(%)
admissions
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73.8
. . . . . . . . . . . . . . . . . . . . . . . . . .25.8
. . . . . . . . . . . . . . . . . . . . . . . . . .28.0
. . . . . . . . . . . . . . . . . . . . . . . . . .5.8
......
upper socio-professional 22.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79.610.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.7
. . . . . . . . . . . . . . . . . . . . . . . . . . 6.1
......
CEOs, executives, etc. 8.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74.7
. . . . . . . . . . . . . . . . . . . . . . . . . .13.3
. . . . . . . . . . . . . . . . . . . . . . . . . .13.4
. . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
intermediate professions 11.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58.8
. . . . . . . . . . . . . . . . . . . . . . . . . .23.3
. . . . . . . . . . . . . . . . . . . . . . . . . .23.5
. . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
lower socio-professional 25.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 0.63.6
..............................
farmers 0.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.0
. . . . . . . . . . . . . . . . . . . . . . . . . .13.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 14.1
. . . . . . . . . . . . . . . . . . . . . . . . . .5.5
......
clerks 14.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.5
. . . . . . . . . . . . . . . . . . . . . . . . . .8.8
. . . . . . . . . . . . . . . . . . . . . . . .5.5
......
workers 10.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.5
. . . . . . . . . . . . . . . . . . . . . . . . . .50.9
. . . . . . . . . . . . . . . . . . . . . . . . . 48.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . 5.1
......
non-working individuals 51.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.2
. . . . . . . . . . . . . . . . . . . . . . . . . .16.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 18.1
. . . . . . . . . . . . . . . . . . . . . . . . . . 5.7
......
retired 21.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83.8
. . . . . . . . . . . . . . . . . . . . . . . . . .28.4
. . . . . . . . . . . . . . . . . . . . . . . . . .26.6
. . . . . . . . . . . . . . . . . . . . . . . . . .5.0
......
students 22.1
. . . . . 100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.1100.0100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
......
total D
Attendance, by profession in 2012
E
Movie theater penetration increased
in less populated areas
After two consecutive years of increase, rural areas
and villages of less than 20,000 contributed slightly
to the reduction in the movie-going population in 2012.
Movie theater penetration decreased in rural areas
(-5.8 points), particularly in villages of fewer than 20,000
(-6.5 points). The number of moviegoers in these zones
decreased by 13.4% between 2011 and 2012. Rural areas
and villages of less than 20,000 accounted for 38.6%
of movie-going audiences (42.4% in 2011) and 30.0% of
admissions in 2012 (29.3% in 2011). The average number
of admissions there increased to 4.1 admissions per
moviegoer in 2012 (3.7 in 2011).
For several years now, Paris and cities with a population
of over 100,000 have no longer accounted for the majority
of moviegoers. After a decrease in 2011, these cities had
more moviegoers in 2012: 49.4%, compared to 45.0% in
2011. They still accounted for the highest share of
admissions (58.7% in 2012, 58.8% in 2011). The number
of moviegoers in large cities increased by 4.4% between
2011 and 2012.
F
admissions structure
30.0
audience structure
38.6
0
E
11.3
10
20
58.7
12.0
30
40
50
49.4
60
70
80
90 100
Audience structure and admissions
according to location in 2012 (%)
Increase in habitual moviegoers
In 2012, the number of occasional moviegoers increased
by 2.3%, in a total movie-going population that decreased
by 4.9%.It reached 25.7 million moviegoers (25.1 million
in 2011). Occasional moviegoers therefore accounted
for 67.7% of the audience, i.e., a higher percentage for
the third year in a row following three consecutive years
of decline (62.9% in 2011, 65.6% in 2010, and 66.1% in
2009). They accounted for 28.9% of cinema attendance
in 2012 (30.2% in 2011), i.e., 58.8 million admissions.
Attendance by occasional moviegoers decreased by
10.3% between 2011 and 2012, while total admissions
dropped by 6.3%. Attendance by occasional moviegoers
was due in particular to the release of films attracting
large audiences such as Rise of the Guardians (49.4% of
admissions by occasional moviegoers), The Twilight Saga:
Breaking Dawn – Part 2 (47.5%) and Zarafa (46.2%).
age six and over.
Habitual moviegoers (regular and frequent) still
accounted for the majority of admissions.
They accounted for 71.1% of total admissions for the year.
However, their frequency of attendance decreased
compared to 2011, down to 144.6 million admissions
(-4.5%). This decrease is primarily due to regular
moviegoers, whose admissions dropped by 13.1%, while
admissions of frequent moviegoers increased by 14.7%
in 2012. Compared to 2010, the movie-going population
included less regulars (-1.81 million individuals)
and frequent moviegoers (-0.74 million individuals).
Thus, habitual moviegoers accounted for 32.3% of movie
theater audiences in 2012, compared to 37.1% in 2011.
Full results concerning movie theater audiences are
available in a study called The Evolution of the Movie
Theater Audiences 1993-2011, published in July 2012
and available for download at www.cnc.fr.
areas < 20,000 inhabitants and rural areas
20,000 to 100,000 inhabitants
areas > 100,000 inhabitants and Paris
2003200420052006200720082009 2010 2011 2012
admission structure (%) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71.1
.......
habitual 76.775.576.571.369.468.369.571.969.8
. . . . . . . . . . . . . . . . . . . . . . . . 27.725.524.023.321.021.623.321.526.3
.......................................................................................................................................................................
frequent 28.9
proportion of audience
admissionaverage
t he population
number of
(%) (%)(%)(%)
admissions
...............................................................................................................................................................................................
regular 47.847.851.047.346.147.348.048.648.244.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31.730.528.130.228.9
.......................................................................................
occasional 23.324.523.528.730.6
...............................................................................................................................................................................................
total 100.0100.0100.0100.0100.0100.0100.0100.0100.0100.0
rural areas 23.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60.3
. . . . . . . . . . . . . . . . . . . . . . . . . .21.3
. . . . . . . . . . . . . . . . . . . . . . . . . .16.2
. . . . . . . . . . . . . . . . . . . . . . . . . . 4.1
.....
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.4
. . . . . . . . . . . . . . . . . . . . . . . . . . 17.3
. . . . . . . . . . . . . . . . . . . . . . . . . .13.8
. . . . . . . . . . . . . . . . . . . . . . . . . .4.3
.....
areas with < 20,000 inhabitants 17.5
audience structure (%) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.3
. . . . . . . . . . . . . . . . . . . . . . . . . .4.54.5
.............................
20,000 to 50,000 inhabitants 6.2
. . . . 37.736.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.534.832.531.433.934.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.132.3
...........................
habitual . . . . . . . . . . .7.2
. . . . . . . . . . . . . . . . . . . . . . . . .61.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.8
. . . . . . . . . . . . . . . . . . . . . . . . . .6.95.4
.............................
50,000 to 100,000 inhabitants ...............................................................................................................................................................................................
frequent 4.84.54.53.63.83.13.93.95.03.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68.4
. . . . . . . . . . . . . . . . . . . . . . . . . . 31.1
. . . . . . . . . . . . . . . . . . . . . . . . . .31.9
. . . . . . . . . . . . . . . . . . . . . . . . . .5.5
.....
> 100,000 inhabitants 29.6
...............................................................................................................................................................................................
regular 32.932.233.031.228.728.230.030.532.129.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72.3
. . . . . . . . . . . . . . . . . . . . . . . . . .18.3
. . . . . . . . . . . . . . . . . . . . . . . . . .26.8
. . . . . . . . . . . . . . . . . . . . . . . . . . 7.8
.....
Paris and surrounding areas 16.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67.568.666.165.662.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67.7
.......
occasional 62.363.362.565.2
. . . . . 100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.1100.0100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.4
.....
total ...............................................................................................................................................................................................
total 100.0100.0100.0100.0100.0100.0100.0100.0100.0100.0
E
Attendance, by location in 2012
F
Film audience behavior
Publixiné :
the authoritative movie theater audience barometer
The CNC, Médiavision and Screenvision joined forces to
create Publixiné, a movie theater audience survey tool.
The Harris Interactive institute conducts the survey
over the Internet, polling 800 to 1,000 individuals twice
per month. The survey collects data on moviegoers
aged three and over. This “barometer” has been in use
since 2005 and is designed to measure changes in the
composition of weekly movie theater audiences in
general, as well as specific audiences for about 300
films per year (films playing on more than 50 screens).
In 2012, audiences were studied for 285 films (293 films
in 2011).
G
Weekly attendance level linked to the share of
occasional moviegoers in the audience
The weekly attendance level for movie theaters is
generally correlated with the share of occasional
moviegoers within the audience: the more occasional
moviegoers present, the higher the number of
admissions. This was demonstrated in particular
between April 18 and May 8, 2012 (weeks 16 and 18) with
the success of The Avengers, What’s in a Name and
Ducoboo 2: Crazy Vacation (released on April 25) during
the winter school vacation, which caused a spike in
attendance and an increase in the number of occasional
moviegoers within the audience for that period.
Summer generally brings a higher level of attendance by
occasional moviegoers. From July 25 to August 21 (weeks
30 to 33), a very high proportion of occasional moviegoers
contributed to high attendance levels (indexes 103 to
121), particularly due to the release of American films
such as The Dark Knight Rises (released on July 25) and
War Witch (August 1). But at the same time, attendance
indexes remained low (indexes between 70 and 96).
Beginning on October 24 (week 43) and through the end
of 2012, the attendance indexes were particularly high.
The theater releases of films that attracted a large
number of occasional moviegoers contributed to this
high attendance level: Stars 80 (released on October 24),
Skyfall (October 26), The Twilight Saga: Breaking Dawn –
Part 2 (November 14), Rise of the Guardians (November 28)
and The Hobbit: An Unexpected Journey (December 12).
220
200
180
160
140
120
100
80
60
40
20
126
72
71
76
93
115
85
102
98
88
88
84
83
125
96
114
122
108
84
108
101
85
95
73
56
122
93
82
92
121
104
108
104
78
115
90
78
63
63
89
89
106
95
111
138
111
118
118
123
121
113
132
05
0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52
G
weeks
Share of occasional moviegoers within weekly audiences and changes in attendance in 20121
1
By index.
Source : Harris Interactive (Publixiné) – CNC.
occasionnal moviegoer index =
share of occasional moviegoers within one week’s audience
/ average share of occasional moviegoers for all weeks in 2012 x 100.
attendance index =
admissions in one week
/ average weekly admissions for all weeks in 2012 x 100
Variations in the share of frequent moviegoers are
generally opposite to those of occasional moviegoers and
changes in weekly attendance levels. Nevertheless,
between February 15 and March 6 2012 (weeks 7 to 9),
strong attendance indexes (114 through 120) also
included high indexes for frequent moviegoers.
This situation can be explained with films such as Chronicle
(released on February 22), which attracted a higher
frequent movie-going audience (indexes 114 through
130).
Between September 5 and October 16 (weeks 36 to 41),
attendance was lower (indexes 49 to 95), as was the
share of occasional moviegoers (indexes 62 to 90)
despite an appealing selection (release of The Bourne
Legacy on September 19, Les Seigneurs on September 26
and Taken 2 on October 3). During this period, the share
of frequent moviegoers was higher than average (indexes
108 to 146).
The highest index for frequent moviegoers (index 168)
was between August 22 and 28 (week 34), when the index
for occasional moviegoers was at a low level (78).
That week marked the release of films appealing mainly
to frequent moviegoers.
220
200
180
160
140
I
FILM AUDIENCES IN 2012
Audience distribution for French films
As in 2011, films were particularly popular among seniors
(50 years and older) in 2012 and, to a lesser extent,
among members of the upper socio-professional
category. The indexes for these two populations in
audiences for French films were higher than their share
in audiences for all films. In 2012, 32.7% of the audience
for French films was composed of seniors and 27.4%
were members of the upper socio-professional category.
In contrast, moviegoers under 25 were under-represented
in French film audiences. They accounted for 31.3% of
audiences for French films, compared to 41.5% for
all films. Nevertheless, certain French films were very
popular among this age group: Zarafa, Ducoboo 2: Crazy
Vacation, Les Seigneurs and HOUBA! On the Trail of the
Marsupilami were the best examples. More than half of
their audiences consisted of moviegoers under the age
of 25 (55.5%, 53.6%, 51.7% and 50.2%, respectively).
As in 2011, frequent moviegoers attended more French
films in 2012. They accounted for 29.8% of moviegoers
for these films, compared to 26.4% of the audience of all
films combined. Films such as In the House and Mince Alors!
appealed to many moviegoers (over 1 million admissions),
with very high proportions of frequent moviegoers (30.3%
and 24.5%, respectively).
120
100
80
60
40
20
81
142
119
129
107
89
115
130
119
98
113
129
108
91
104
77
82
98
85
109
92
125
109
135
146
94
93
104
103
76
85
87
84
168
107
124
146
123
108
128
114
77
94
89
64
72
59
76
87
65
67
75
H
0
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52
H
weeks
Share of frequent moviegoers in weekly audiences and changes in attendance in 20121
1
By index.
Source : Harris Interactive (Publixiné) – CNC.
frequent moviegoer index =
share of frequent moviegoers within the audience in one week
/ average share of frequent moviegoers for all weeks in 2012 x 100.
attendance index =
admissions in one week
/ average weekly admissions for all weeks in 2012 x 100
05
Young audiences for American films
As in previous years, audiences for American films were
young. 87.5% of moviegoers to American films were
under the age of 50, compared to 78.8% for all films.
This was due to the release of nine new animated films
in 2012, including Madagascar 3: Europe’s Most Wanted
(61.1% of audiences were aged 3-24), Rise of the Guardians
(60.2%), War Witch (57.4%) and Ice Age: Continental Drift
(54.2%). In 2012, American films attracted a primarily
male audience (52.3%, compared to 49.7% for all films).
Members of the upper socio-professional category
(24.0%) and seniors (12.5%) had lower representation in
audiences for American films. They had less representation
in audiences of American films in 2012 than in 2011
(minus 0.2 points for members of the upper socioprofessional category and minus 2.5 points for seniors).
Non-American, non-European films, called «other films»,
had slightly different audiences in 2012 than in previous
years, consisting primarily of the 25-49 age group
(43.7%, compared to 37.6% in 2011) and especially
occasional moviegoers (27.7%, compared to 19.5% in
2011). Unlike in 2011, the audiences for non-American;
non-European films included more men (54.6% in 2012,
versus 47.7% in 2011) than women (45.4%, versus 52.3%
in 2011) and a lower than average share of children (9.4%,
compared to 11.9% for all films in 2012 and 14.8% in 2011).
2011
2012
FrenchAmerican European
other
all FrenchAmerican European
other
all
filmsfilms films 2films filmsfilmsfilms films 2films films
gender
Audiences for non-French European films depend greatly
on the available selection of British films. In 2011, 39.4%
of audiences for European films were under 25, 26.6%
were members of the upper socio-professional category,
32.6% were Parisians and 27.3% were occasional
moviegoers. In 2012, these films still attracted young
audiences (39.8% under 25), members of the upper
socio-professional category (27.6%) and Parisians
(31.4%). In contrast, frequent moviegoers were less
represented in European film audiences in 2012 (25.4%,
compared to 27.3% in 2011). British films released in
theaters in 2012 attracted primarily occasional
moviegoers: The Pirates! Band of Misfits (40.1%
occasional moviegoers, versus 18.6% frequent
moviegoers), Skyfall (38.7% occasional moviegoers,
versus 8.7% frequent moviegoers) and Sherlock Holmes:
A Game of Shadows (26.1% occasional moviegoers,
versus 21.9% frequent moviegoers).
men . . . . . . . . 47.5
. . . . . . . . . . . . . . . . . . . . . . . .50.9
. . . . . . . . . . . . . . . . . . . . . . . . . .49.647.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.3
. . . . . . . . . . . . . . . . . . . . . . . . 46.2
. . . . . . . . . . . . . . . . . . . . . . . . 52.3
. . . . . . . . . . . . . . . . . . . . . . . . . . .48.154.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.7
........
women . . . . . . . .52.5
. . . . . . . . . . . . . . . . . . . . . . . . 49.1
. . . . . . . . . . . . . . . . . . . . . . . . . .50.452.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.7
. . . . . . . . . . . . . . . . . . . . . . . 53.8
. . . . . . . . . . . . . . . . . . . . . . . . .47.7
. . . . . . . . . . . . . . . . . . . . . . . . . .51.945.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.3
........
age . . . . . . . . . . .7.6
. . . . . . . . . . . . . . . . . . . . . 12.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.914.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.4
. . . . . . . . . . . . . . . . . . . . . . . . . .9.614.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11.49.411.9
.....................................................
children (age 3-14) . . . . . . . . 21.7
. . . . . . . . . . . . . . . . . . . . . . . . 31.6
. . . . . . . . . . . . . . . . . . . . . . . . . .29.518.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.2
. . . . . . . . . . . . . . . . . . . . . . . .21.7
. . . . . . . . . . . . . . . . . . . . . . . 36.0
. . . . . . . . . . . . . . . . . . . . . . . . . . 28.429.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29.6
........
young adults (age 15-24) . . . . . . . .36.7
. . . . . . . . . . . . . . . . . . . . . . . .40.6
. . . . . . . . . . . . . . . . . . . . . . . . . .39.237.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38.9
. . . . . . . . . . . . . . . . . . . . . . . . .36.1
. . . . . . . . . . . . . . . . . . . . . . . .37.4
. . . . . . . . . . . . . . . . . . . . . . . . . 39.543.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.3
........
adults (age 25-49) . . . . . . . .34.0
. . . . . . . . . . . . . . . . . . . . . . . .15.0
. . . . . . . . . . . . . . . . . . . . . . . . . .21.428.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.5
. . . . . . . . . . . . . . . . . . . . . . . .32.7
. . . . . . . . . . . . . . . . . . . . . . . .12.5
. . . . . . . . . . . . . . . . . . . . . . . . . 20.717.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.2
........
seniors (50 and over) profession . . . . . . . .26.9
. . . . . . . . . . . . . . . . . . . . . . . .24.2
. . . . . . . . . . . . . . . . . . . . . . . . . .26.627.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.6
. . . . . . . . . . . . . . . . . . . . . . . .27.4
. . . . . . . . . . . . . . . . . . . . . . . 24.0
. . . . . . . . . . . . . . . . . . . . . . . . . . .27.631.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.0
........
upper socio-professional . . . . . . . .24.2
. . . . . . . . . . . . . . . . . . . . . . . . 27.9
. . . . . . . . . . . . . . . . . . . . . . . . . .25.823.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.2
. . . . . . . . . . . . . . . . . . . . . . . . 24.4
. . . . . . . . . . . . . . . . . . . . . . . . .26.6
. . . . . . . . . . . . . . . . . . . . . . . . . 24.524.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25.5
........
lower socio-professional . . . . . . . .48.9
. . . . . . . . . . . . . . . . . . . . . . . . 47.8
. . . . . . . . . . . . . . . . . . . . . . . . . . 47.649.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48.2
. . . . . . . . . . . . . . . . . . . . . . . . .48.1
. . . . . . . . . . . . . . . . . . . . . . . 49.4
. . . . . . . . . . . . . . . . . . . . . . . . . . 48.043.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.6
........
non-working individuals location . . . . . . . .29.3
. . . . . . . . . . . . . . . . . . . . . . . .28.9
. . . . . . . . . . . . . . . . . . . . . . . . . .32.635.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.6
. . . . . . . . . . . . . . . . . . . . . . . . 27.1
. . . . . . . . . . . . . . . . . . . . . . . 26.8
. . . . . . . . . . . . . . . . . . . . . . . . . . .31.428.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.4
........
Paris and surroundings . . . . . . . .70.7
. . . . . . . . . . . . . . . . . . . . . . . . .71.1
. . . . . . . . . . . . . . . . . . . . . . . . . 67.464.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70.4
. . . . . . . . . . . . . . . . . . . . . . . . .72.9
. . . . . . . . . . . . . . . . . . . . . . . 73.2
. . . . . . . . . . . . . . . . . . . . . . . . . . 68.671.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.6
........
other regions movie-going
frequency
. . . . . . . . 28.1
. . . . . . . . . . . . . . . . . . . . . . . . 24.1
. . . . . . . . . . . . . . . . . . . . . . . . . . 27.331.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.2
. . . . . . . . . . . . . . . . . . . . . . . . .29.8
. . . . . . . . . . . . . . . . . . . . . . . 24.0
. . . . . . . . . . . . . . . . . . . . . . . . . . 25.425.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26.4
........
frequent . . . . . . . . 48.1
. . . . . . . . . . . . . . . . . . . . . . . .49.6
. . . . . . . . . . . . . . . . . . . . . . . . . . 47.049.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.7
. . . . . . . . . . . . . . . . . . . . . . . 48.2
. . . . . . . . . . . . . . . . . . . . . . . . 49.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 48.347.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.0
........
regular . . . . . . . .23.8
. . . . . . . . . . . . . . . . . . . . . . . .26.3
. . . . . . . . . . . . . . . . . . . . . . . . . .25.719.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.1
. . . . . . . . . . . . . . . . . . . . . . . .22.0
. . . . . . . . . . . . . . . . . . . . . . . .26.1
. . . . . . . . . . . . . . . . . . . . . . . . . 26.227.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.6
........
occasional I
Film audiences, by film origin (%)1
Base: all 293 films in the 2011 sample and 285 films in the 2012 sample.
Continental Europe, excluding France.
Source: Publixiné – Harris Interactive.
1
2
J
Occasional moviegoers particularly preferred
animated films in 2012
Among the main genres of feature films, only animated
films have a very specific audience. Children accounted
for 36.9% of the audiences for these films, compared to
11.9% of audiences for all films. For films like Zarafa and
The Pirates! Band of Misfits, the 3-14 age group accounted
for over 48% of moviegoers. Among audiences for animated
films, residents of non-Parisian regions were better
represented (78.1% in 2012, compared to 72.6% for all
genres). 41.9% of animated film spectators were occasional
moviegoers, compared to 24.6% for all films. Regular
moviegoers made up 43.9% of the audience for these
films (49.0% for all genres) and frequent moviegoers
accounted for 14.3% (26.4% for all genres).
(26.2% for all films), while occasional moviegoers
accounted for 25.7% (24.7% for all films).
2011
2012
animated fiction including
filmsfilms
comedies
allanimated fiction including
films filmsfilms
comedies
all
films
gender
men 46.649.946.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44.050.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46.1
. . . . . . . . . . . . . . . . . . . . . . . . . 49.7
.........
women 53.450.153.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56.049.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53.9
. . . . . . . . . . . . . . . . . . . . . . . . . .50.3
.........
Fiction films accounted for 91.9% of the sample of
285 films in 2012, and their audience structure generally
corresponded to that of general film audiences.
The proportion of children aged 3 to 14 was nevertheless
smaller than average for this genre (7.6%, compared to
11.9% for all genres), in contrast to seniors, who accounted
for 23.0% of fiction film audiences and 10.3% of animated
film audiences.
It should be noted that only films released in over 50 prints
were included in this study. This restriction excludes
many documentary films, which often have limited
releases. The following results concern all documentaries
released in theaters on over 50 prints between 2005
and 2012, i.e. 44 films. The audience analysis for these
documentaries indicated a true segmentation compared
to other film genres. Documentaries drew a large number
of seniors (32.2% of audiences, compared to 23.6%
for all films between 2005 and 2012), of members of the
upper socio-professional category (28.5%, compared to
26.0% for all films) and of Parisians (30.7%, compared
to 29.5% for all films). Between 2005 and 2012, the share
of occasional spectators in documentary audiences was
near that of frequent moviegoers. Frequent moviegoers
accounted for 24.6% of documentary audiences
age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.7
. . . . . . . . . . . . . . . . . . . . . . . .10.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36.97.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.7
. . . . . . . . . . . . . . . . . . . . . . . .11.9
........
children (age 3-14) 32.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.431.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29.2
. . . . . . . . . . . . . . . . . . . . . . . . . . 29.6
.........
young adults (age 15-24) 18.629.128.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.3
. . . . . . . . . . . . . . . . . . . . . . . . . 38.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33.338.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35.0
. . . . . . . . . . . . . . . . . . . . . . . . . . 37.3
.........
adults (age 25-49) 35.939.5
. . . . . . . . . . . . . . 13.125.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.8
. . . . . . . . . . . . . . . . . . . . . . . . . .23.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.323.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26.1
. . . . . . . . . . . . . . . . . . . . . . . . . 21.2
.........
seniors (50 and over) profession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.327.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25.0
. . . . . . . . . . . . . . . . . . . . . . . . . . 26.0
.........
upper socio-professional 20.426.626.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.026.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20.926.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.7
. . . . . . . . . . . . . . . . . . . . . . . . . 25.5
.........
. . . . . . . . . . . . . . .57.146.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.3
. . . . . . . . . . . . . . . . . . . . . . . . . 48.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59.846.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.3
. . . . . . . . . . . . . . . . . . . . . . . . . .48.6
.........
non-working individuals location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21.928.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26.7
. . . . . . . . . . . . . . . . . . . . . . . . . .27.4
........
Paris and surroundings 25.630.431.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78.171.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73.3
. . . . . . . . . . . . . . . . . . . . . . . . . . 72.6
.........
other regions 74.469.668.8
movie-going
frequency
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.328.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.1
. . . . . . . . . . . . . . . . . . . . . . . . . 26.4
.........
frequent 15.628.330.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43.949.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.3
. . . . . . . . . . . . . . . . . . . . . . . . . . 49.0
.........
regular 45.649.448.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41.921.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.6
. . . . . . . . . . . . . . . . . . . . . . . . . 24.6
.........
occasional 38.822.321.2
J
Film audiences, by genre (%)1
1
05
K
A younger audience with more occasional moviegoers
for wide release films
The audience structure for a film depends on the scope
of its release. In general, the wider the first-week release,
the younger the film’s audience. Audiences for films
released on fewer than 100 theaters included more
seniors (37.1% in 2012) than children (5.3%), the opposite
was true for films with a very wide release (500 theaters
or more): 13.4% of audiences were seniors and 18.5%
were children. Overall, the share of under-15s in film
audiences increased with the size of the release; for
example, Madagascar 3: Europe’s Most Wanted, which
was released in over 700 cinemas, drew a large share of
children (39.8%, versus 9.3% seniors). Conversely,
the share of seniors, members of the upper socioprofessional category and inhabitants of the Paris and
its surrounding regions decreased with the increase of
first-release theaters.
Audience attendance behavior also varied depending on
the scope of the release: frequent moviegoers were
overrepresented at films released on up to 500 cinemas
(48.0% for films released on fewer than 100 theaters,
41.0% for films released on 100 to 200 theaters and
30.5% for films released on 200 to 500 theaters in 2012).
For releases on 500 cinemas or more, their share
declined sharply to 17.0%. For occasional moviegoers,
the opposite was true: they were underrepresented in
audiences for films released on fewer than 500 theaters
(between 9.4% and 18.8% in 2011) and made up a high
proportion of the audiences for wide releases (33.9%).
Occasional moviegoers made up over 40% of the audiences
for films released on over 800 cinemas. This was
particularly true for HOUBA! On the Trail of the Marsupilami
(40.3% occasional moviegoers), Astérix & Obélix: God Save
Britannia (42.0%), Ice Age: Continental Drift (42.9%) and
War Witch (44.3%).
2011
2012
less
than 100
100
to 200
200
500 or
all
to 500morefilms
less
than 100
100
to 200
200
500 or
all
to 500morefilms
gender
men 46.449.349.349.849.345.448.748.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51.149.7
...............................
women 53.650.750.750.250.754.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51.3
. . . . . . . . . . . . . . . . . . . . . . . .51.248.950.3
.......................................................
age . . . . . . . . . . .1.6
. . . . . . . . . . . . . . . . . . . . . . . 2.7
. . . . . . . . . . . . . . . . . . . . . . . . 4.819.910.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.3
. . . . . . . . . . . . . . . . . . . . . . . .4.4
. . . . . . . . . . . . . . . . . . . . . . . . 7.018.511.9
.....................................................
children (age 3-14) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.1
. . . . . . . . . . . . . . . . . . . . . . . .27.630.630.229.6
...............................................................................
young adults (age 15-24) 24.724.330.524.827.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.539.838.138.936.538.836.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.837.3
...............................
adults (age 25-49) 39.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.223.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.129.226.013.421.2
.......................................................................................................
seniors (50 and over) 34.035.524.9
profession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.122.425.632.831.526.623.326.0
..............................................................................................................................................................................
upper socio-professional 30.928.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.125.826.220.524.126.325.725.5
..............................................................................................................................................................................
lower socio-professional 24.424.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.145.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.748.246.744.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.0
. . . . . . . . . . . . . . . . . . . . . . . .51.048.6
...............................
location . . . . . . . . 37.735.331.624.629.636.933.628.523.827.4
...............................................................................................................................................................................................................................
Paris and surroundings .......................................................................................................................................................................................................................................
other regions 62.364.768.475.470.463.166.471.576.272.6
movie-going
frequency
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41.030.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.026.4
...............................
frequent 42.740.030.615.226.248.0
.......................................................................................................................................................................................................................................
regular 43.646.950.248.348.742.646.150.749.149.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.119.236.525.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.412.918.833.924.6
.....................................................................................................
occasional 13.7
K
Film audiences, by number of opening-week theaters (%)1
1
L
Success of a film depends on occasional moviegoers
The proportion of frequent and occasional moviegoers
within a film’s audience depends on its admissions.
The lower the number of admissions, the greater
the proportion of frequent moviegoers in the audience
(49.3% for films with under 100,000 admissions in 2012).
Conversely, greater admissions for a film mean a higher
proportion of occasional moviegoers in its audience
(38.5% for films with over four million admissions in
2012). Occasional moviegoers are more influenced by
word-of-mouth. However, examining statistics for each
film in detail shows that higher proportions of occasional
moviegoers are not systematically correlated to the
number of admissions, although in cases when a film
has more than four million viewers, they are generally
over-represented regardless of the film.
Thus, some of the films that drew a large audience in
2012, such as Rust and Bone, Project X and Men in Black 3
(more than 1.8 million admissions each), attracted fewer
occasional moviegoers than average (24.6% in 2012), with
18.7%, 21.0% and 22.6%, respectively. So the success of
these films was dependent on an audience of regular
moviegoers (between 57% and 58%) and frequent
moviegoers (between 20% and 24%).
At the same time, higher numbers of admissions for
a film are correlated with a younger audience
(8.2% of audiences were children for films with fewer
than 100,000 admissions in 2012, 18.3% for films with
over 4 million admissions) and a greater proportion of
people living in the provinces (67.4% compared to 76.5%).
The 12 films with the most admissions in 2012 (over 3 million
admissions) had more children in the audience (21.1%,
compared to 11.9% for all films), more people from
the provinces (77.0%, compared to 72.6%) and more
occasional moviegoers (39.5%, compared to 24.6%) than
average. Among these films, American films succeeded
almost exclusively thanks to children and young adults.
These films were mostly intended for younger audiences:
War Witch, Madagascar 3: Europe’s Most Wanted,
The Twilight Saga: Breaking Dawn – Part 2 and Ice Age:
Continental Drift. In contrast, the success of French films
depended on a wider range of audiences; in particular,
this was true for What’s in a Name, which had higher than
average attendance by seniors.
2011 2012
less than
100,000
100,000
to 500,000
500,000
to 1 million
1 million
to 2 million
2 million
to 4 million
more than
4 million
all less than
films 100,000
100,000
to 500,000
500,000
to 1 million
1 million
to 2 million
2 million
to 4 million
more than
4 million
all
films
gender
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.7
. . . . . . . . . . . . . . . . . . . . . . . . . .49.6
. . . . . . . . . . . . . . . . . . . . . . . . . .51.4
. . . . . . . . . . . . . . . . . . . . . . . . . .48.0
. . . . . . . . . . . . . . . . . . . . . . . . . .49.149.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.8
. . . . . . . . . . . . . . . . . . . . . . . . . .50.5
. . . . . . . . . . . . . . . . . . . . . . . . . .49.8
. . . . . . . . . . . . . . . . . . . . . . . . . .50.1
. . . . . . . . . . . . . . . . . . . . . . . . . 50.449.7
..............................
men 48.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.3
. . . . . . . . . . . . . . . . . . . . . . . . . .50.4
. . . . . . . . . . . . . . . . . . . . . . . . . .48.6
. . . . . . . . . . . . . . . . . . . . . . . . . .52.0
. . . . . . . . . . . . . . . . . . . . . . . . . 50.950.7
.............................. . . . . . .53.251.249.550.249.949.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50.3
........
women 51.8
age . . . . . . . . 3.5
. . . . . . . . . . . . . . . . . . . . . . . . . . 3.5
. . . . . . . . . . . . . . . . . . . . . . . . . . 6.213.322.213.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10.4
. . . . . . . . 8.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.5
. . . . . . . . . . . . . . . . . . . . . . . . 11.6
. . . . . . . . . . . . . . . . . . . . . . . . . . 11.7
. . . . . . . . . . . . . . . . . . . . . . . . . .20.1
. . . . . . . . . . . . . . . . . . . . . . . . . .18.3
. . . . . . . . . . . . . . . . . . . . . .11.9
.......
children (age 3-14) . . . . . .26.226.928.926.226.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.6
. . . . . . . . . . . . . . . . . . . . . .27.2
. . . . . . . 25.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.4
. . . . . . . . . . . . . . . . . . . . . . . . . .26.8
. . . . . . . . . . . . . . . . . . . . . . . . . .33.7
. . . . . . . . . . . . . . . . . . . . . . . . . .30.5
. . . . . . . . . . . . . . . . . . . . . . . . . .29.529.6
.............................
young adults (age 15-24) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.1
. . . . . . . . . . . . . . . . . . . . . . . . . .39.6
. . . . . . . . . . . . . . . . . . . . . . . . . .39.0
. . . . . . . . . . . . . . . . . . . . . . . . . .38.0
. . . . . . . . . . . . . . . . . . . . . . . . . .37.738.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.8
. . . . . . . . . . . . . . . . . . . . . . . . . .36.6
. . . . . . . . . . . . . . . . . . . . . . . . . .36.1
. . . . . . . . . . . . . . . . . . . . . . . . . .36.4
. . . . . . . . . . . . . . . . . . . . . . . . . 40.237.3
..............................
adults (age 25-49) 39.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30.5
. . . . . . . . . . . . . . . . . . . . . . . . . .25.4
. . . . . . . . . . . . . . . . . . . . . . . . . .21.6
. . . . . . . . . . . . . . . . . . . . . . . . . .13.3
. . . . . . . . . . . . . . . . . . . . . . . . . .21.323.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.3
. . . . . . . . . . . . . . . . . . . . . . . . . .24.9
. . . . . . . . . . . . . . . . . . . . . . . . . .18.5
. . . . . . . . . . . . . . . . . . . . . . . . . . 13.1
. . . . . . . . . . . . . . . . . . . . . . . . . .12.021.2
.............................
seniors (50 and over) 30.3
profession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.2
. . . . . . . . . . . . . . . . . . . . . . . . . . 27.9
. . . . . . . . . . . . . . . . . . . . . . . . . .24.7
. . . . . . . . . . . . . . . . . . . . . . . . . .21.9
. . . . . . . . . . . . . . . . . . . . . . . . . .23.825.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.2
. . . . . . . . . . . . . . . . . . . . . . . . . .26.7
. . . . . . . . . . . . . . . . . . . . . . . . . .24.1
. . . . . . . . . . . . . . . . . . . . . . . . . .22.7
. . . . . . . . . . . . . . . . . . . . . . . . . 24.226.0
..............................
. . . . . .26.226.526.225.226.226.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.2
. . . . . . . . 24.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25.1
. . . . . . . . . . . . . . . . . . . . . . . . . .25.6
. . . . . . . . . . . . . . . . . . . . . . . . . .26.0
. . . . . . . . . . . . . . . . . . . . . . . . . .24.9
. . . . . . . . . . . . . . . . . . . . . . . . . 26.425.5
..............................
lower socio-professional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46.3
. . . . . . . . . . . . . . . . . . . . . . . . . .45.9
. . . . . . . . . . . . . . . . . . . . . . . . . .50.1
. . . . . . . . . . . . . . . . . . . . . . . . . .51.9
. . . . . . . . . . . . . . . . . . . . . . . . . .49.548.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45.7
. . . . . . . . . . . . . . . . . . . . . . . . . . 47.7
. . . . . . . . . . . . . . . . . . . . . . . . . .50.0
. . . . . . . . . . . . . . . . . . . . . . . . . .52.4
. . . . . . . . . . . . . . . . . . . . . . . . . 49.448.6
..............................
location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34.2
. . . . . . . . . . . . . . . . . . . . . . . . . .32.0
. . . . . . . . . . . . . . . . . . . . . . . . . .27.3
. . . . . . . . . . . . . . . . . . . . . . . . . .25.9
. . . . . . . . . . . . . . . . . . . . . . . . . .23.229.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.3
. . . . . . . . . . . . . . . . . . . . . . . . . .28.9
. . . . . . . . . . . . . . . . . . . . . . . . . .26.1
. . . . . . . . . . . . . . . . . . . . . . . . . .22.9
. . . . . . . . . . . . . . . . . . . . . . . . . .23.527.4
.............................
Paris and surroundings 35.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.8
. . . . . . . . . . . . . . . . . . . . . . . . . .68.0
. . . . . . . . . . . . . . . . . . . . . . . . . .72.7
. . . . . . . . . . . . . . . . . . . . . . . . . . 74.1
. . . . . . . . . . . . . . . . . . . . . . . . . .76.870.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68.7
. . . . . . . . . . . . . . . . . . . . . . . . . . 71.1
. . . . . . . . . . . . . . . . . . . . . . . . . .73.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 77.1
. . . . . . . . . . . . . . . . . . . . . . . . . .76.572.6
.............................
other regions 64.4
movie-going
frequency
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.1
. . . . . . . . . . . . . . . . . . . . . . . . .30.6
. . . . . . . . . . . . . . . . . . . . . . . . . .22.3
. . . . . . . . . . . . . . . . . . . . . . . . . . 17.3
. . . . . . . . . . . . . . . . . . . . . . . . . .11.2
. . . . . . . . . . . . . . . . . . . . . 26.2
. . . . . . . . 49.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38.4
. . . . . . . . . . . . . . . . . . . . . . . . . . 27.9
. . . . . . . . . . . . . . . . . . . . . . . . . .22.1
. . . . . . . . . . . . . . . . . . . . . . . . . .15.7
. . . . . . . . . . . . . . . . . . . . . . . . . .12.826.4
.............................
frequent 41.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.0
. . . . . . . . . . . . . . . . . . . . . . . . . .50.4
. . . . . . . . . . . . . . . . . . . . . . . . . .51.3
. . . . . . . . . . . . . . . . . . . . . . . . . .48.3
. . . . . . . . . . . . . . . . . . . . . . . . . .47.348.7
............................. . . . . . .40.747.651.251.248.648.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.0
........
regular 44.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.9
. . . . . . . . . . . . . . . . . . . . . . . . . .19.0
. . . . . . . . . . . . . . . . . . . . . . . . . .26.4
. . . . . . . . . . . . . . . . . . . . . . . . . 34.4
. . . . . . . . . . . . . . . . . . . . . . . . . . .41.525.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.1
. . . . . . . . . . . . . . . . . . . . . . . . . .20.9
. . . . . . . . . . . . . . . . . . . . . . . . . .26.6
. . . . . . . . . . . . . . . . . . . . . . . . . .35.7
. . . . . . . . . . . . . . . . . . . . . . . . . 38.5
. . . . . . . . . . . . . . . . . . . . . . 24.6
........
occasional 14.0
L
Film audiences, by the number of admissions (%)1
1
Base: all 293 films in the 2011 sample and 285 films in the 2012 sample. Source: Publixiné – Harris Interactive.
05
M
Frequent, urban and older moviegoers attended
Art House films
Audiences for Art House films have particular
characteristics. It should be noted that only films
released on over 50 theaters are included in this study.
This restriction excludes many Art House films, which
often have limited releases.
In 2012, seniors accounted for 36.5% of Art House film
audiences, members of the upper socio-professional
category accounted for 32.7%, residents of Paris and its
surrounding regions accounted for 33.7% and frequent
moviegoers accounted for 36.9%. At the same time,
the audience structure for non recommanded films
was completely opposite from that of Art House films:
younger, more occasional audiences residing primarily
outside of the Parisian regions.
Frequent moviegoers particularly favored certain
recommended Art House films by well-known directors.
This was true for Clint Eastwood’s J. Edgar (31.9% frequent
moviegoers) and François Ozon’s In the House (30.3%).
Out of the 104 recommended Art House films in the
Publixiné study in 2012, only 10 had audiences whose
share of occasional moviegoers was higher than average,
including seven animated films.
2011
2012
Art House non recommanded
all
Art House non recommanded
all
films
films
filmsfilms
films
films
gender
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.1
. . . . . . . . . . . . . . . . . . . .49.347.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50.4
. . . . . . . . . . . . . . . . . . . 49.7
.........
men 46.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.9
. . . . . . . . . . . . . . . . . . . .50.752.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.6
. . . . . . . . . . . . . . . . . . 50.3
.........
women 53.1
age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.6
. . . . . . . . . . . . . . . . . . . .10.47.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.3
. . . . . . . . . . . . . . . . . . .11.9
........
children (age 3-14) 3.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28.5
. . . . . . . . . . . . . . . . . . . .27.218.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.7
. . . . . . . . . . . . . . . . . . 29.6
.........
young adults (age 15-24) 23.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39.0
. . . . . . . . . . . . . . . . . . . .38.937.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.2
. . . . . . . . . . . . . . . . . . .37.3
........
adults (age 25-49) 38.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.9
. . . . . . . . . . . . . . . . . . . .23.536.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.8
. . . . . . . . . . . . . . . . . . .21.2
........
profession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.9
. . . . . . . . . . . . . . . . . . . .25.632.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24.0
. . . . . . . . . . . . . . . . . . . 26.0
.........
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.3
. . . . . . . . . . . . . . . . . . . .26.221.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.8
. . . . . . . . . . . . . . . . . . . 25.5
.........
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48.7
. . . . . . . . . . . . . . . . . . . 48.246.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.2
. . . . . . . . . . . . . . . . . . . 48.6
.........
location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28.1
. . . . . . . . . . . . . . . . . . . .29.633.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.6
. . . . . . . . . . . . . . . . . . .27.4
........
Paris and surroundings 34.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71.9
. . . . . . . . . . . . . . . . . . . .70.466.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74.4
. . . . . . . . . . . . . . . . . . 72.6
.........
other regions 65.8
movie-going
frequency
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.2
. . . . . . . . . . . . . . . . . . . .26.236.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23.4
. . . . . . . . . . . . . . . . . . . 26.4
.........
frequent 35.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.0
. . . . . . . . . . . . . . . . . . . .48.747.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.6
. . . . . . . . . . . . . . . . . . . 49.0
.........
regular 47.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.7
. . . . . . . . . . . . . . . . . . . .25.116.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.0
. . . . . . . . . . . . . . . . . . 24.6
.........
occasional 16.7
M
Art House film audiences (%)1
1
N
3D films attract young, frequent audiences
It should be noted that this study includes only films
released in theaters in both 2D and 3D, i.e. 43 films in
the Publixiné sample for 2011 and 33 films for 2012.
The analysis allows for the comparison of audience
structure for these films according to the format in which
they were viewed.
Audiences for 3D films in movie theaters had particular
characteristics. In 2012, 52.8% of the audiences were
male (51.0% for all film formats), 33.7% were in the
15-24 age group (31.9% for all formats) and 18.8% were
frequent moviegoers (16.7% for all formats). At the same
time, audience structure for the same films shown in 2D
was very different: these audiences included more women,
moviegoers under 15, and occasional moviegoers.
Occasional moviegoers supported certain films shown
in 3D, such as Astérix & Obélix: God Save Britannia
(44.2% occasional moviegoers), Kirikou and the Men and
the Women (41.5%) and Wreck-It Ralph (41.2%).
2011
2012
filmsfilmstotal
in 2D
in 3D
43 films
filmsfilmstotal
in 2D
in 3D
33 films
gender
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.252.851.0
.......................................................
men 48.152.050.2
. . . . . . . . . . . . . . 51.948.049.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.847.249.0
.......................................................
women age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.221.422.8
.......................................................
children (age 3-14) 23.620.622.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.125.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30.033.731.9
.......................................................
young adults (age 15-24) 24.3
. . . . . . . . . . . . . . 37.740.439.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35.135.635.3
.......................................................
adults (age 25-49) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.913.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.79.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.0
.......
profession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21.022.321.7
.......................................................
upper socio-professional 22.022.822.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.325.424.8
.......................................................
lower socio-professional 25.725.525.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51.752.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54.752.353.5
.......................................................
location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.622.123.3
.......................................................
Paris and surroundings 27.226.126.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75.477.976.7
.......................................................
other regions 72.873.973.4
movie-going
frequency
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.418.816.7
.......................................................
frequent 16.119.017.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.348.749.0
.......................................................
regular 46.949.448.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36.332.534.4
.......................................................
occasional 37.031.734.1
N
3D film audiences (%)1
Base: 43 films in the 2011 sample and 33 films in the 2012 sample released
in theaters in both 2D and 3D.
1
Just a Sigh by Jérôme Bonnel. © Céline Nieszawer / Le Pacte.
Camille Claudel, 1915 by Bruno Dumont. © ARP Sélection.
Under the Rainbow by Agnès Jaoui. © Les Films A4 / Memento Films.
The Nun by Guillaume Nicloux.
© Renaud Montfourny / Le Pacte.
Des gens qui s’embrassent by Danièle Thompson.
© Émilie de la Hosseraye / Pathé Distribution.
Mood Indigo by Michel Gondry. © Studio Canal Distribution.
Perfect Mothers by Anne Fontaine. © 2012 Ciné-@ / Mon Voisin Productions /
Gaumont / France 2 Cinéma.
06
Film production
The CNC approved 279 feature films in 2012, seven more films than the previous year,
to reach the highest level in over 30 years.
In 2012, investments into French film production reached €1.3 billion.
Jasmine by Alain Ughetto. © Les Films du Tambour de Soie.
Bovines by Emmanuel Gras. © Bathysphère / Hapiness Distribution.
Chercher le garçon by Dorothée Sebbagh.
© Shellac Distribution.
06
Film production
Methodology
This chapter’s data focuses on the production of French
films approved by the CNC in 2012. Therefore, it includes
only films approved in 2012, either for financing or for
direct production approval in the case of films for which
investment approval was not required. Films financed
by French producers but that could not be categorized
as European films and films that did not seek regulated
or government financing and were still in production were
excluded.
A
New historic record for French film production
In 2012, film production reached a historic record for the
third consecutive year. 279 feature films received approval
during the year, i.e. 7 more films than in 2011, a level not
reached in over thirty years.
The increase observed in 2012 primarily concerned foreign
majority films (+7.7%), while the number of films produced
and fully or primarily financed by French partners (French
initiative films) appeared stable (+1.0%). The number of
French initiative films approved in 2012 reached a record
level with 209 titles, compared to 207 in 2011.
There were 150 films fully financed by France, compared
to 152 in 2011. Fifty-nine French initiative films approved
in 2012 were co-produced with foreign partners (55 films
in 2011). At the same time, the number of French minority
co-productions was again on the rise, with 70 films in 2012
(65 in 2011), the highest level in the past ten years.
In 2012, the proportion of French initiative films produced
in French was 92.8% (91.3% in 2011). Fifteen French initiative
films were shot in foreign languages in 2012 (18 in 2011),
including eight in English (10 in 2011).
French full Foreign total
initiative French co-
majority approved
films Films
productionsfilmsfilms
2003 183
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 29212
................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 36203
................................
2004 167
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
. . . . . . . . . . . . . . . . . . . . . . . . . . . 53240
................................
2005 187
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39203
................................
2006 164
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 43228
................................
2007 185
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
. . . . . . . . . . . . . . . . . . . . . . . . . . . 44240
................................
2008 196
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 48230
................................
2009 182
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 58261
................................
2010 203
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 65272
................................
2011 207
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 70279
................................
2012 209
A
Film production over time (in number of films)
B
5.5% investment decrease in French initiative films
In 2012, total investment in French initiative films decreased
by 5.5% versus 2011. Between 2003 and 2012, total
investment in French initiative films increased by an average
of 2.6% per year.
French investments in these films decreased by 4.3%
compared to 2011. In ten years, they grew by an average
of 3.3% per year. In 2012, foreign investments in French
initiative films decreased by 16.5% from 2011, despite an
increase in the number of such films being co-produced
(+4 films). Foreign financing of co-productions decreased
to €1.67 million in 2012, down from €2.15 million in 2011.
In 2012, the average budget of French initiative films was
€5.10 million, compared to €5.45 million in 2011 (-6.5%).
Half of the French initiative films had budgets lower than
€3.22 million, versus €3.73 million in 2011.
French Foreign initiative majority
films films total
FrenchForeign total
financingfinancingfinancing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,153.30
.................
2003 789.34363.96
2003 847.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .306.261,153.30
............................................
. . . . . . . . . . . . . . . . . . . 819.79229.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,048.83
.................
2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156.421,048.83
............................................
2004 892.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,286.13
.................
2005 916.98369.15
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .352.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,286.13
...............
2005 933.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,148.47
................
2006 834.25314.22
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .283.43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,148.47
...............
2006 865.04
. . . . . . . . . . . . . . . . . . . .951.74249.34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,201.08
.................
2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,201.08
................
2007 1,003.63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266.691,490.45
.....................................................
2008 1,223.76
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231.26
. . . . . . . . . . . . . . . . . . . . . . . . . . . .1,490.45
................
2008 1,259.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,098.68
.................
2009 891.87206.81
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171.201,098.68
............................................
2009 927.48
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349.281,439.01
.....................................................
2010 1,089.74
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326.86
. . . . . . . . . . . . . . . . . . . . . . . . . . . .1,439.01
................
2010 1,112.15
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326.111,389.03
....................................................
2011 1,062.92
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260.76
. . . . . . . . . . . . . . . . . . . . . . . . . . . .1,389.03
................
2011 1,128.28
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316.751,342.33
.....................................................
2012 1,025.58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276.65
. . . . . . . . . . . . . . . . . . . . . . . . . . . .1,342.33
................
2012 1,065.68
B
B
Financing for approved films by origin
median
average
current million €
current € index1
constant
€ index1
current million €
current € index1
constant
€ index1
Total financing for approved films
French
Foreign initiative majority
films films total
2003 2.6081.076.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.6398.793.3
...............................................................
2003 720.61
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .789.34
............
. . . . . . . . . . . .3.92122.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.34
. . . . . . . . . . . . . . . . . . . . . . . . . .113.9105.5
.....................................
2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30.72
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .819.79
............
2004 789.07
. . . . . . . . . . . .2.80
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 87.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . .79.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.99106.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96.8
........
2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79.62
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .916.98
............
2005 837.36
. . . . . . . . . . . .2.82
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 87.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . .78.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.27
. . . . . . . . . . . . . . . . . . . . . . . . . .112.5100.6
.....................................
2006 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .834.25
............
2006 777.02
. . . . . . . . . . . .3.08
. . . . . . . . . . . . . . . . . . . . . . . . . . . .95.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . .84.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.43
. . . . . . . . . . . . . . . . . . . . . . . . . . .115.7102.0
.....................................
2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44.37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951.74
............
2007 907.37
. . . . . . . . . . . .3.40105.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.42
. . . . . . . . . . . . . . . . . . . . . . . . . .137.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . .117.5
.........
2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.70
. . . . . . . . . . . . . . . . . . . . . . . . . 1,223.76
................
2008 1,174.06
. . . . . . . . . . . .3.06
. . . . . . . . . . . . . . . . . . . . . . . . . . . .95.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . .81.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.10108.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93.1
.......
2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.89
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .891.87
............
2009 851.99
. . . . . . . . . . . .3.99124.2104.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.48
. . . . . . . . . . . . . . . . . . . . . . . . . . .116.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98.6
........
2010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.19
. . . . . . . . . . . . . . . . . . . . . . . . . 1,089.74
................
2010 1,018.55
. . . . . . . . . . . .3.73116.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.45116.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96.0
........
2011 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52.89
. . . . . . . . . . . . . . . . . . . . . . . . . .1,062.92
................
2011 1,010.03
. . . . . . . . . . . .3.22100.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.10108.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88.1
.......
2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58.631,025.58
..........................................
2012 966.95
B
Median and average budgets for French initiative films
Base index of 100 in 2000.
Source: CNC – INSEE Consumer Price Index, all prices excluding tobacco.
1
B
French financing for approved films
06
Film production
C
Documentary production: still high
42 documentaries, of which 37 were French productions,
were approved in 2012 (37 of which 30 were French initiative
in 2011). The number of documentaries has not been this
high in ten years.
In 2012, €42.02 million were invested in documentary
production, versus €34.10 million in 2011. Three French
initiative documentaries had budgets higher than €2 million,
and 30 had budgets less than €1 million (2 films and 26 films,
respectively, in 2011). The average budget of French initiative
documentaries was €0.71 million (€0.98 million in 2011).
New historic record for animated film
Animated film production reached a new record in 2012
with 12 films produced, including 10 French initiative films
(10 films with 5 French initiative in 2011).
In 2012, total investment in animated films reached
€137.73 million (€71.76 million in 2011). Of the 10 French
initiative animation films approved in 2012, two films had
budgets higher than €20 million, and three had budgets
lower than €4 million. In 2011, two films had budgets higher
than €10 million, and one lower than €4 million. In 2012,
the average budget of French initiative animation films was
€10.74 million (€8.11 million in 2011).
D
Significant increase in international co-productions
In 2012, 129 films were co-produced with 37 foreign partners
(120 with 38 partners in 2011), the highest level in the past
ten years. International co-produced films accounted for
46.2% of all approved films in 2012, compared to 44.1%
in 2011.
There were 59 French majority co-produced films in 2012,
versus 55 in 2011. At €440.21 million, total financing for these
films decreased by 5.4% from 2011, while the number of
films increased (+4 films).
As in the previous ten years, Belgium remained France’s
preferred partner for French initiative co-productions,
with 35 films in 2012. They were followed by Luxembourg
(9 co-productions in 2012), Germany (5 films) and Italy
(4 films).
With 70 titles in 2012, the number of foreign majority
co-productions increased compared to 2011 (+5 films, i.e.
+7.7%). Total investment in these films reached €276.65
million in 2012, up 6.1% from 2011. The average budget of
foreign majority co-productions was €3.95 million in 2012,
versus €4.01 million in 2011. In 2012, France’s main partner
countries for foreign majority co-productions were Germany
(18 films), Italy (14 films), Belgium (11 films) and Spain
(8 films).
France signed agreements authorizing bilateral financial
co-productions with three countries: Italy, Spain and the
United Kingdom. In the context of these co-productions,
the minority country does not make an artistic or technical
contribution, unlike traditional co-productions. Among
the 17 bilateral financial co-productions made in 2012, three
were French majority co-productions and 14 were French
minority co-productions.
Since France’s ratification of the European Convention
on Cinematographic Co-Production in 2002 (which applies
to co-productions involving at least three European signatory
countries), the number of co-productions involving at least
three countries under the Convention has been growing.
This Convention notably enables the expansion of financial
co-productions to all signatory countries.
Among the 129 co-productions approved in 2012, 44 were
co-produced within the framework of the Convention, i.e.,
more than one third. Thirteen of these were French initiative
films and 31 were foreign majority films. For 22 of those
31 films, French involvement was limited to providing
financing.
20082009 2010 2011 2012
20082009 2010 2011 2012
.......................................................................
fiction 195195225225225
.......................................................................
FIF 154151169172162
1
.......................................................................
documentaries 3530273742
.......................................................................
FIF1 3327253037
. . . . . . . . . . . . . . . . . . . . . .5
. . . . . . . . . . . . . . . .91012
.................................
animated 10
French foreign
majority majority
co-productions co-productions
.......................................................................
Belgium 2221282435
total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
. . . . . . . . . . . . . . . . . . . . .129
......
number of films 59
.......................................................................
Luxembourg 73579
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . .105
...................
Germany 88
. . . .135764
...................................................................
Italy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58.63
. . . . . . . . . . . . . . . . . . . . . . 400.11
............
French financing (in millions of €) 341.48
.......................................................................
Israel 21223
240230261272279
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218.02
. . . . . . . . . . . . . . . . . . . . . . . .316.75
............
foreign financing (in millions of €) 98.73
.......................................................................
Canada 24562
.......................................................................
FIF1 196182203207209
. . . . . . . . . . .440.21
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276.65716.86
....................................
total (in millions of €) .......................................................................
Spain 22142
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
...
FIF1 9495
total C
.......................................................................
Number of films produced,
by genre
1
French initiative films.
D
International co-productions
in 2012
D
Main associate countries for
French majority co-productions
(number of films)
E
Reduction in films with medium budgets, increase in
low-budget films
In 2012, French initiative film production experienced
a decrease in the number of films with budgets between
€4 million and €7 million (-13 films) and an increase in the
number of films with budgets under €1 million (+11 films).
In 2012, 58 French initiative films had budgets lower than
€1 million, i.e. 27.8% of the total (22.7% in 2011). The number
of films with budgets between €1 million and €2 million
went from 29 in 2011 to 25 in 2012. 83 films had budgets
under €2 million in 2012. The proportion of these films out
of all French initiative films was higher in 2012 (39.7%) than
in 2011 (36.7%).
Films with budgets under €4 million (129 films, versus
117 films in 2011) represented 61.7% of French initiative
film production in 2012 (56.5% in 2011).
Twenty-five French initiative films had budgets between
€4 million and €7 million in 2012 (38 in 2011). They accounted
for 12.0% of French initiative films, compared to 18.4%
in 2011.
In 2012, 55 films had budgets above €7 million (52 films in
2011), with 22 films having budgets between €7 million
and €10 million (24 films in 2011), 15 films between €10 million
and €15 million (16 films in 2011) and 18 films above €15 million
(12 films in 2011). Of the 18 films with budgets above
€15 million in 2012, 12 had budgets between €15 million
and €20 million (4 in 2011), and six above €20 million (8 in
2011).
Overall, 26.3% of French initiative films had budgets above
€7 million in 2012, versus 25.1% in 2011. Since 2005, this
share has always exceeded 20%.
F
First and second films
In 2012, 36.8% of approved French initiative films were first
films (77 films), compared to 35.3% in 2011 (73 films). French
initiative production has included at least fifty first films
per year for the past ten years.
While the average budget of all French initiative films was
€5.10 million in 2012, the average budget of first films was
€3.22 million (€2.98 million in 2011). 25 first films had budgets
above €3 million (30 films in 2011), including 11 films with
budgets above €6 million (12 films in 2011). Of these 11 films,
five had budgets greater than €10 million (2 films in 2011).
Moreover, while 39.7% of all French initiative films had
budgets below €2 million in 2012 (36.7% in 2011), 59.7%
of first films were in that range (50.7% in 2011).
In 2012, 36 French initiative films were second films (37 in
2011), i.e. 17.2% of all approved French initiative films
(17.9% in 2011). The average budget of second films was
€5.55 million, compared to €4.49 million in 2011.
first films
second films
withwith
% of
advance
% of
advance
total
FIF1on receipts2
total
FIF1on receipts2
2003200420052006200720082009 2010 2011 2012
.......................................................................................................................................................
> €10 million 18242224283525282833
. . . . . . . . . . . . . . . . . . . . . .91721212521242422
.................................................................................................................................
€7–€10 million 12
.......................................................................................................................................................
€5–€7 million 20332112201118302622
. . . .17
. . . . . . . . . . . . . . . .16779
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
. . . . . . . . . . . . . . . . .123
...................
€4–€5 million .......................................................................................................................................................
€2–€4 million 38324637434145474146
.......................................................................................................................................................
€1–€2 million 37333335292336182925
.......................................................................................................................................................
< €1 million 41204128354428404758
.......................................................................................................................................................
total 183167187164185196182203207209
E
French initiative films, by budget
2003 .......................................................................................................................................
2004 .......................................................................................................................................
68
37.231
2714.8
7
5432.3
24
3521.0
16
16
2005 .......................................................................................................................................
2006 .......................................................................................................................................
6936.9
29
3418.2
5634.1
25
2716.5
2007 .......................................................................................................................................
8
7238.9
25
3217.3
11
2008 .......................................................................................................................................
2009 .......................................................................................................................................
2010 .......................................................................................................................................
2011 .......................................................................................................................................
2012 .......................................................................................................................................
F
7437.8
26
3115.8
11
7742.3
30
3720.3
13
6331.0
26
3316.3
11
7335.3
29
3717.9
5
7736.8
22
3617.2
12
First and second Films
1
2
Films with pre- or post-production advance on takings.
06
Film production
G
Decrease in TV channel contributions and authorization
agreements
In 2012, television channels remained the primary source
of financing for French initiative films. Their contributions
decreased by 6.9% to €340.57 million, covering 32.0% of
film budgets. In 2012, authorization agreements (for theater
releases, video releases and exhibition in foreign markets)
for French initiative went down by 6.0% to €207.43 million,
still remaining substantially higher than the average of the
past ten years (€184.18 million). Authorization agreements
financed 19.5% of the budgets of French initiative films
in 2012, compared to 19.6% in 2011.
The «French producers» category corresponds to the portion
of financing taken on by production companies to cover
film budgets. This portion includes whatever remains to be
financed either by obtaining additional funding that was
unidentified at the time of approval, or by completing filming
below the projected budget. Beyond pre-financing, the
contribution of «French producers» corresponds to the
financial risk assumed by the producers regarding future
returns on the various uses of the films. In 2012, French
producer contributions were at €307.76 million for French
initiative films, i.e. 28.9% of the budget of these films.
In 2012, public funding for French initiative films (automatic
support, selective financing and regional funding) represented
6.5% of financing. Selective financing slightly increased
between 2011 and 2012 (+2.3%), funding 2.3% of the budgets
of French initiative films approved in 2012, one of the lowest
levels recorded in ten years. Public regional funding of French
initiative films dropped by 19.1% in 2012, covering 1.5% of
budgets (1.7% in 2011).
SOFICA’s share in the financing of French initiative films
was 4.0% in 2012. SOFICA contributions greatly increased
in 2012 (+24.5% to €42.10 million).
Foreign co-production contributions covered 9.3% of overall
financing for French initiative films in 2012 (10.5% in 2011).
In terms of value, they dropped by 16.5% to €98.73 million.
H
The financing structure of French initiative films is closely
correlated with total budgets. Public financing (automatic
support as well as selective and regional financing) accounted
for 15.7% of the total financing for films with budgets under
€4 million in 2012, and only 3.7% of financing for films with
budgets over €7 million. Conversely, theater, video, and
foreign exploitation authorization agreements accounted
for 23.8% of financing for films with budgets over €7 million
and for 7.6% for films with budgets below €4 million.
2003200420052006200720082009 2010 2011 2012
French producers . . . .24.8
. . . . . . . . . . . . . . . . 27.629.034.026.728.030.828.727.928.9
.......................................................................................................................................
.....................................................................................................................................................
SOFICA . . . . . . 4.53.13.13.53.92.83.84.33.04.0
.....................................................................................................................................................
automatic support . . . . . . 6.76.05.85.84.84.24.34.32.72.7
.....................................................................................................................................................
selective financing . . . . . . 3.53.53.02.62.72.12.52.72.22.3
. . . . . . .1.11.21.31.51.61.82.01.91.71.5
....................................................................................................................................................
regional financing .....................................................................................................................................................
TV co-productions . . . . . . 3.84.33.83.33.83.23.73.64.24.2
< €1
€1-4
€4-7
>= €7
all
millionmillionmillionmillion films
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.728.9
...........................
French producers1 61.532.424.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.7
.......
TV pre-purchases . . . .26.228.125.525.326.924.528.728.928.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.02.54.0
............................................
SOFICA 0.47.4
. . . . . . . . . . .-----
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.8
. . . . . . . . . . . . . . . .8.8
. . . . . . . . . . . . . . . .5.2
. . . . . . . . . . . . . . . .6.6
. . . . . . . . . . . . . .10.8
.......
bundled authorization agreements 4 ...........................................................................................
automatic support 2 2.32.23.42.72.7
.....................................................................................................................................................
French distributors . . . . . . 6.86.09.87.49.52.33.34.54.61.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.2
. . . . . . . . . . . . . . . . . . . . .1.1
. . . . . . . . . . . . . . . . . . .3.8
.....
selective and regional financing3 20.512.6
.....................................................................................................................................................
French video publishers . . . . . . 2.02.03.12.22.11.70.70.91.40.8
. . . . . . 4.426.338.033.232.0
.....................................................................................
TV channels 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.83.26.57.06.2
.......................................................................
foreign authorization agreements 5 . . . . . . 5.66.55.34.28.2
. . . . . . 5.3
. . . . . . . . . . . . . . . . . . . . 8.015.523.819.5
.................................................................
exploitation authorization agreements 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.9
. . . . . . . . . . . . . . . .6.8
. . . . . . . . . . . . . . . . 8.1
. . . . . . . . . . . . . . . .8.410.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.3
.....
foreign financing . . . .14.911.610.310.2
. . . . . . 5.711.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.3
. . . . . . . . . . . . . . . . . . . . .9.1
. . . . . . . . . . . . . . . . . . .9.3
.....
foreign financing ..........................................................................................................................................................
Total . 100.0100.0100.0100.0100.0100.0100.0100.0100.0100.0
...........................................................................................
Total 100.0100.0100.0100.0100.0
G
Financing for French initiative films (%)
The «French producers» category was calculated by subtracting the sum
of identified financing from the budget.
2
Automatic support collected by films during the year in which they were approved.
3
Regional financing including CNC contributions.
4
Authorization agreements covering multiple categories of exploitation rights cannot
be distinguished. Counted separately as of 2008. Included in the «French distributors»
advances until 2007.
5
Authorization agreements for film sales on foreign markets other than those
of co-producing countries.
1
H
Financing for French initiative films
in 2012, by budget (%)
1
The «French producers» category was calculated
by subtracting the sum of identified financing
from the budget.
2
Automatic support collected by films during
the year in which they were approved.
3
Regional financing including CNC contributions.
4
Co-production contributions + pre-purchases.
5
Theater + video + foreign + bundled.
I
Financing from FTA channels (historical and DTT)
Methodology
The results below only include investments in films
approved by the CNC in 2012 (investment approval or
production approval when investment approval was not
required). This timeframe is the reason the financing totals
submitted by the television networks to the CSA may differ
somewhat. These changes should be interpreted with care,
especially when considering production commitments.
In 2012, out of the 279 films approved, FTA television channels
financed a total of 111 films, including 96 French initiative
films (compared to 126 films of which 116 were French
initiative productions in 2011). Seventy-eight French initiative
films were financed by a single FTA channel (106 films in
2011), and 17 were financed simultaneously by two FTA
channels (10 films in 2011). One film, Valérie Lemercier’s
100% Cachemire, was financed by four FTA channels:
France 2, M6, France 4 and W9.
Investments by FTA channels in film production dropped
12.2% in 2012, to €127.90 million; the number of films
decreased by 11.9% (-15 films). However, FTA channel
involvement still remains higher than the average over the
past ten years (€124.57 million on average per year between
2003 and 2012).
While FTA channel contributions decreased by 14.9% for
French initiative films (€121.13 million in 2012, versus
€142.26 million in 2011), they increased twofold (+99.1%)
for French minority co-productions (€6.77 million in 2012,
versus €3.40 million in 2011). At the same time, the number
of pre-financed French initiative films decreased by 17.2%
(96 films in 2012, versus 116 films in 2011), while the number
of minority co-productions increased by 50% (15 films in
2012, versus 10 films in 2011).
In 2012, 62.5% of FTA channel investments went toward
the pre-purchase of broadcasting rights (66.6% in 2011).
FTA channels helped finance 21 first and 20 second films,
including foreign majority films (25 and 21, respectively,
in 2011).
In 2012, TF1 financed high-budget films, averaging €13.13
million (€15.51 million in 2011). Average budgets for films
co-produced by M6 increased as well, up to €15.61 million
in 2012 (€11.47 million in 2011) while France 2 was involved
in films with average budgets of €9.96 million (€9.88 million
in 2011). Films co-produced by France 3 in 2012 had an
average budget of €6.73 million (€7.95 million in 2011) and
films co-produced by Arte had an average budget of
€3.34 million (€2.60 million in 2011).
In 2012, six free DTT channels invested in the production
of 22 films (two channels in 2011: D8 and W9). D8 prepurchased four French initiative films for €1.17 million
(ten films, including nine French initiative films, for €1.16
million in 2011). France 4 pre-financed five French initiative
films for €0.75 million. Gulli pre-purchased one French
initiative film for €0.08 million. NT1 participated in the
production of two French initiative films for €0.17 million.
TMC invested €0.53 million in four French initiative films.
W9 pre-financed seven films, including six French initiative
films, for €1.05 million (seven films, all French initiative,
for €0.62 million in 2011).
The 22 films pre-purchased by a DTT channel were
financed by a film channel. Among them, 7 were financed
only by a free DTT channel (no traditional FTA channel).
% of
co-
pre- total budgets of % of
productions purchases contributions
approved budgets
(€ million)
(€ million)
(€ million)
films
overall
2003 . . . . . . . . . . . . . .34.1975.59109.78
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.7
.......
. . . . . . . . . . . . . 39.6984.73124.42
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.4
.......
2004 . . . . . . . . . . . . . .37.9981.45119.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . .14.3
.......
2005 . . . . . . . . . . . . . 30.40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .71.51101.91
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . .13.1
.......
2006 . . . . . . . . . . . . . 39.9684.97124.92
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.9
.......
2007 TF1
France 2
France 3
M6
Arte
DTT2
total
. . . . . . . . . . . . . .41.64102.61
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144.24
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . .13.6
.......
2008 number of films . . . . . . . . . . . .17
. . . . . . . . . . . . . . . . . . . . . . . .35
. . . . . . . . . . . . . . . . . . . . . . . .261219
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
. . . . . . . . . . . . . . . . . . . . . . 111
...
. . . . . . . . . . . . . 36.9474.44111.38
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.5
.......
2009 . . . . . . . . . . . . . . . . . . . . . . . .39.18
. . . . . . . . . . . . . . . . . . . . . . . 22.2122.03
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.55
. . . . . . . . . . . . . . . . . . . . . . . .3.75
. . . . . . . . . . . . . . . . . . .127.90
.........
total contributions (in millions of €) . . . . . .34.19
. . . . . . . . . . . . . 44.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .91.62136.07
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . .13.5
.......
2010 . . . . . . . . . . . . . . . . . . . . . . . . 20.92
. . . . . . . . . . . . . . . . . . . . . . . . .12.0116.10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.30
. . . . . . . . . . . . . . . . . . . . . . . . 3.17
. . . . . . . . . . . . . . . . . . . . .79.93
.......
pre-purchases (in millions of €) . . . . . 25.45
. . . . . . . . . . . . . 48.6996.97145.66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.4
.......
2011 . . . . . . . . 8.74
. . . . . . . . . . . . . . . . . . . . . .18.26
. . . . . . . . . . . . . . . . . . . . . . . .10.215.934.25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.59
. . . . . . . . . . . . . . . . . . . . . 47.97
.......
co-productions (in millions of €) . . . . . . . . . . . . . .47.9779.93127.90
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . .13.5
.......
2012 . . . . . . . .2.01
. . . . . . . . . . . . . . . . . . . . . . . . .1.12
. . . . . . . . . . . . . . . . . . . . . . .0.851.840.34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.17
. . . . . . . . . . . . . . . . . . . . . . . .1.15
....
average contribution per film (in millions of €) I
FTA network contributions1
FTA channels whose investments were registered in 2012:
Arte, D8, France 2, France 3, France 4, Gulli, M6, NT1, TF1, TMC, W9.
1
I
FTA network financing1 of approved films in 2012
17 films were jointly financed by two FTA channels.
Investments in 2012 by six free DTT channels:
D8, France 4, Gulli, NT1, TMC and W9.
1
2
06
Film production
J
Financing by film channels
In 2012, film channels (13ème Rue, Canal+, Canal J, Ciné+,
OCS, TPS Star and TV5) pre-purchased 155 of the total 279
approved films (55.6%), including 134 French initiative films
(64.1%) (163 films in 2011, of which 141 were French initiative).
Twenty-nine French initiative films were pre-purchased
by only one film channel (35 films in 2011) and 101 films were
pre-purchased by two pay channels (106 films in 2011).
Four films were pre-purchased by three pay channels
in 2012 (none in 2011).
The total investment volume from film channels declined
by 1.3% in 2012, to €231.71 million, with the number of prepurchased films decreasing by 4.9% (8 films). Nevertheless,
financing by these channels remained particularly high
considering the past ten years. Film channels invested
an average of €200.33 million per year on the pre-purchase
of approved films between 2003 and 2012. The level of film
channel financing for French initiative films decreased in
2012 (-1.9% to €219.44 million). However, this level increased
for French minority films (+11.2% to €12.28 million).
Film channels helped finance 38 first films and 31 second
films, including foreign majority films (40 and 28 films
in 2011, respectively).
130 of the films approved in 2012 were financed by Canal+,
with a total contribution of €186.43 million. The channel
pre-purchased 113 French initiative films, compared to
118 in 2011. The share of all French initiative financed by
Canal+ was 54.1% in 2012 (57.0% in 2011). Canal+ financing
accounted for 18.4% of the budgets of films financed by
the channel in 2012, compared to 18.3% in 2011.
In 2012, out of the 113 French initiative films pre-purchased
by Canal+, 112 were purchased by the channel for first-run
encrypted broadcasting. One film was pre-purchased for
second-run paid broadcasting.
In 2012, Ciné+ invested €24.14 million (+0.9%) in 121 films,
of which 106 were French initiative films. For the first time,
Ciné+ was involved with over half of all French initiative
films: 50.7% in 2012 (48.3% in 2011). Ciné+ also financed
15 foreign majority co-productions (13 in 2011), investing
€0.98 million.
Ciné+ devoted €0.65 million in 2012 to purchasing first-run
pay broadcast rights for eight French initiative films
(€0.73 million for five films in 2011). First-run broadcasting
rights accounted for 2.8% of investments by Ciné+ for French
initiative films in 2012, compared to 3.1% in 2011. For the
98 other French initiative films financed in 2012 (95 films
in 2011), Ciné+ pre-purchased second-run broadcasting
rights.
OCS (Orange Cinema Series) financed 18 approved films
in 2012, of which 15 were French initiative films (20 films,
of which 18 were French initiative, in 2011), for a total of
€18.52 million (€20.43 million in 2011). OCS pre-purchased
7.2% of French initiative films in 2012, compared to 8.7%
in 2011.
The channel invested €17.97 million in French initiative films
(€19.72 million in 2011), including €17.10 million for first-run
pay channel broadcasting rights for 11 films (€18.56 million
for 12 films in 2011) and €0.88 million for second-run
broadcasting rights for four films (€1.16 million for six films
in 2011). On average, OCS covered 17.6% of the budget of
the French initiative that it pre-purchased in 2012, versus
12.9% in 2011.
Financing through exploitation authorization agreements
In order to finance production, exploitation rights for a film
on different distribution media can be transferred upstream
of the production to gain financial advances. The
corresponding authorization agreements essentially concern
theater releases, video releases and exhibition in foreign
markets outside of co-producing nations.
In 2012, €223.89 million were invested in the form of
exploitation authorization agreements for theater releases,
video releases and exhibition abroad (-6.8% from 2011) for
193 approved films, including 151 French initiative films.
In 2011, €240.12 million were invested in the form of
exploitation authorization agreements in 195 approved
films, of which 157 were French initiative films.
Thus, 69.2% of approved films in 2012 and 72.2% of French
initiative films received pre-financing from theater
distributers and/or video editors and/or film exporters
(71.7% and 75.8%, respectively, in 2011). On average, the
authorization agreements covered 19.1% of the budgets
for these films in 2012, compared to 20.0% in 2011.
All together (including bundled authorization agreements),
162 films benefited from an exploitation authorization
agreement by theater distributors in 2012 (171 in 2011),
134 films benefited from video authorization agreements
(110 in 2011) and 136 films benefited from foreign exhibition
authorization agreements (126 in 2011).
Tax rebate for international production (TRIP)
In 2012, 121 of the 209 approved French initiative films
applied for provisional TRIP (tax rebate for international
production) agreements (131 out of 207 French-initiative
films in 2011).
The cumulative total of the budgets of these 121 films was
€734.50 million, of which €671.17 million (91.4%) were spent
entirely in France. For comparison, the share of expenditure
in France for the 88 French initiative films in 2012 that did
not seek tax credit approval was 55.1%.
Overall, films that received tax credit accounted for 78.6%
of all expenditures made in France by French initiative films
in 2012 (76.7% in 2011).
K
average pre-
contribution % of
purchases
per film
budgets
% of
(in millions
(in millions of approved
budgets
2
films FIF of €)
of €)
films
overall
SOFICA participation
SOFICA companies contributed to 118 approved films in 2012,
i.e. 14 more films than in 2011. It is the highest number in
the past ten years. Total investments reached €44.66 million
(+22.6% from 2011), the second highest level in the past
ten years, following that of 2010 (€50.03 million). The average
investment of SOFICA companies per film was €378,400,
compared to €350,300 in 2011. On average, this investment
covered 7.1% of the budgets for the films, versus 6.6%
in 2011. In 2012, SOFICA companies invested in films with
higher-than-average budgets: €5.30 million, compared
to €4.81 million for all approved films. This average budget
is lower than in 2011 (€5.33 million).
Fourteen SOFICA companies were active in 2012, compared
to 13 in 2011. Their involvement was slightly less concentrated
than in 2011, with the three most active SOFICA companies
covering 39.0% of total investment for films in 2012,
2003 121111
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157.77
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.6
....
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176.79
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.21
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.2
....
2004 146133
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.13
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.1
....
2005 151131
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.16
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.1
....
2006 139122
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194.48
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.24
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.4
....
2007 157140
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217.95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.0
....
2008 174151
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203.88
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.26
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20.9
....
2009 162143
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253.65
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.8
....
2010 186161
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.7
....
2011 163141
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231.71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.49
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20.3
....
2012 155134
J
Participation by film channels1
1
Pay channels whose investments were registered in 2012:
13ème Rue, Canal+, Canal J, Ciné+, OCS, TPS Star, TV5.
2
average contribution % of
contributions
per film
budgets
% of
(in millions
(in millions of approved
budgets
1
films FIF of €)
of €)
films
overall
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.64
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.7
..
2003 6158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.50
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.8
..
2004 5553
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31.63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.9
..
2005 7870
other film
Canal+
TPS Star3
Ciné+
OCSchannels
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.78
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.42
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.7
..
2006 7872
total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40.59
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.2
..
2007 8881
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38.34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.8
..
2008 9786
films . . . . . . . . . 1304
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36.21
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.6
..
2009 9891
. . . . . . . . . .1134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
......
films - FIF2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50.03
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.9
..
2010 108100
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.10
. . . . . . . . . . . . . . . . . . . . . . . . . .24.14
. . . . . . . . . . . . . . . . . . . . . . . . . . . 18.52
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.52
. . . . . . . . . . . . . . . . . . . . . . .231.71
............
pre-purchases (in millions of €) 186.43
. . . . . . . . . . . . . . . . . . . . . . . . . . . .93
. . . . . . . . . . . . . . . . . . . . . . . 36.43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.6
..
2011 104
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.53
. . . . . . . . . . . . . . . . . . . . . . . . . . . .0.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . .1.03
. . . . . . . . . . . . . . . . . . . . . . . . . . . .0.10
. . . . . . . . . . . . . . . . . . . . . . . . . . . 1.49
........
average pre-purchase per film (in millions of €) 1.43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44.66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.38
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.1
.
2012 118102
J
Film channels’1 financing for approved films in 2012
Film channels whose investments were registered in 2012:
13ème Rue, Canal+, Canal J, Ciné+, OCS, TPS Star, TV5.
2
3
TPS Star shut down in 2012.
1
K
SOFICA financing of approved films
1
06
Film production
L
Advance on receipts
In 2012, 51 films were produced with the aid of advances
on earnings. Of these films, one was a French minority
co-production. French initiative films assisted by advances
on earnings accounted for 23.9% of all approved French
initiative films in 2012, versus 21.3% in 2011. Of the films
receiving pre-production advances on earnings, 17 were
first films (21 in 2011), including 16 French initiative films
(19 in 2011). 33.3% of approved films in 2012 receiving preproduction advances on earnings were first films (42.9%
in 2011). Ten second films received pre-production advances
on earnings in 2012 (all French initiative films), compared
to five in 2011 (three of which were French initiative).
The total advances for approved films in 2012 came to
€21.24 million and covered an average of 15.8% of budgets
for the films concerned. For French initiative fiction films,
average advances were €471,000, compared to €454,000
in 2011. Moreover, two animated films received such subsidies
amounting to €1.15 million in 2012 (one film for €0.60 million
in 2011).
Eight approved films received post-production advances
on earnings in 2012 (as in 2011).
The allotted total was €0.66 million (€0.72 million in 2011),
with an average of €32,750 per film. The average budget
for these films was €0.23 million (€0.30 million in 2011),
and post-production advances on earnings accounted for
on average 36.0% of budgets in 2012 (29.2% in 2011).
Eight first films were among the films receiving assistance
(as in 2011), and one second film (none in 2011). Five films
receiving post-production advances on earnings were
documentaries (as in 2011).
6,064 days spent filming French initiative fiction films
Methodology
Animation films and documentaries were excluded
from the analysis concerning shooting time.
A total of 6,064 days were spent filming French initiative
fiction films approved in 2012, i.e. an 11.8% decrease from
2011 for 11 fewer films (-6.4%). The average duration of
shooting for a French initiative film dropped to 37 days
(40 days in 2011), the shortest in the past ten years.
The number of filming days in France totaled 4,243 days,
versus 5,002 days in 2011. The decrease in number of shooting
days in France (-15.2%) is more significant than the decrease
in number of shooting days abroad (-3.0%). Seventy-eight
French initiative films, i.e. 48.1% of the 162 films in question,
were partially or entirely filmed abroad (70 films, or 40.5%,
in 2011). These films had 1,821 days of filming abroad in
2012 (1,877 days in 2011), i.e. an average of 23 days per film
(27 days in 2011). In most cases, the choice to film abroad
had to do with artistic considerations. Nonetheless, in some
cases, this choice was based on financial considerations,
to save on costs or gain access to local financing sources
through co-productions (in Belgium, Luxembourg, Germany
and Canada).
In 2012, 22 French initiative films were partially filmed in
French studios (20 films in 2011). The average in-studio
filming time was 12 days, compared to 15 days in 2011.
Films shot in studios had high budgets, with two films having
budgets greater than €15 million, one between €10 million
and €15 million, and eight between €7 million and €10 million.
The average budget of the 22 French initiative films partially
filmed in French studios in 2012 was €7.4 million.
approvedamount
films withreceived
advances
FIF1
(€ million) 2
. . . . . . . . . . . . . . . . . .60
. . . . . . . . . . . . . . . . . . . . . . . . . .5621.62
.................................
2003 . . . . . . . . . . . . . . . . . .63
. . . . . . . . . . . . . . . . . . . . . . . . . .5923.53
.................................
2004 . . . . . . . . . . . . . . . . . .61
. . . . . . . . . . . . . . . . . . . . . . . . . .5820.96
.................................
2005 . . . . . . . . . . . . . . . . . .52
. . . . . . . . . . . . . . . . . . . . . . . . . 4619.49
..................................
2006 . . . . . . . . . . . . . . . . . .54
. . . . . . . . . . . . . . . . . . . . . . . . . .4920.05
.................................
2007 . . . . . . . . . . . . . . . . . .46
. . . . . . . . . . . . . . . . . . . . . . . . . 4417.69
..................................
2008 . . . . . . . . . . . . . . . . . .44
. . . . . . . . . . . . . . . . . . . . . . . . . .4220.07
.................................
2009 . . . . . . . . . . . . . . . . . .56
. . . . . . . . . . . . . . . . . . . . . . . . . .5224.57
.................................
2010 . . . . . . . . . . . . . . . . . .49
. . . . . . . . . . . . . . . . . . . . . . . . . 4420.28
..................................
2011 . . . . . . . . . . . . . . . . . .51
. . . . . . . . . . . . . . . . . . . . . . . . . .5021.24
.................................
2012 L
Pre-production advance on receipts
The data in this table correspond to advance on earnings
amounts attributed to approved films each year and also
include carryovers. These data are different from the estimated
amounts listed in the budget law or the amount of assistance
granted each year by the assistance agencies in question.
1
2
The proportion of French initiative films made using
digital video continued to increase, up to 87.1% in 2012
(182 films), from 72.5% in 2011 (150 films). In 2012,
93.1% of French initiative films with budgets under
€1 million were shot digitally (95.7% in 2011).
Production costs for French initiative films
Post-production work was done in France for most of the
209 French initiative films approved in 2012. Fourteen
French initiative films, i.e. 6.7% of the total, were postproduced in foreign facilities, compared to ten films in 2011
(4.8%). Of those 14 films, ten were post-produced in Belgian
post-production facilities.
Structural fragmentation of production
In 2012, 191 different companies produced the 209
approved French initiative films, including 41 films that
were co-produced. Thus, the film production sector remained
very diverse. Over the past ten years, the number of active
production companies has increased by an average of 2.5%
annually. Growth in the number of companies has been
greater since 2010.
Pathé Production, Gaumont and Les Films Pelléas were
the most active companies in 2012, producing five French
initiative films with average budgets of €16.22 million,
€13.55 million and €3.83 million, respectively. They were
followed by Légende Films with four films with an average
budget of €10.41 million, Les Films du 24 with four films
with an average budget of €8.93 million and Wild Bunch
with four films with an average budget of €10.41 million.
Seven companies produced three films and 24 companies
produced two in 2012. Finally, 154 companies produced
only one film.
M
Methodology
The data below reflect actual production costs, that is,
costs reported after filming has ended. They are taken
from production agreements. Cost estimates, which are
submitted to the CNC prior to filming as part of financing
approval applications, may change significantly over time.
It is worth noting that this is a different parameter than
that of the annual film production report, which uses
the year when a film receives investment approval.
On average, 18 months go by between these two types
of approval. Thus, only 1.7% of the films that received
production approval in 2012 received investment approval
in the same year. 41.6% of them received investment
approval in 2011, and 48.3% in 2010.
In 2012, 204 French initiative films (in all genres) received
production approval (169 films in 2011). Their combined
total budgets were equal to €1,055.11 million, a 42.7%
increase from 2011. Expenditures abroad totaled €183.97
million in 2012, accounting for 17.4% of total production
costs for French initiative-films approved in 2012 (12.8%
in 2011). Fiction and animated films accounted for 85.9%
and 12.9%, respectively, of total expenditures outside of
France (88.3% and 8.7% in 2011).
In 2012, 109 films, i.e. 67.5% of the 166 approved French
initiative fiction films, involved spending abroad (58.8%
in 2011), for a combined total of €157.98 million, up 89.0%
from 2011. Two films spent over €10 million outside of France
in 2012 (none in 2011), one of which exceeded €17 million.
fiction
documentaryanimation
domestic expenditures total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.54
. . . . . . . . . . . . . . . . . . . . . . . . . .31.52
. . . . . . . . . . . . . . . . . . . . .768.62
............
2008 717.55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.85
. . . . . . . . . . . . . . . . . . . . . . . . . . .32.75768.26
.................................
2009 714.65
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67.40
. . . . . . . . . . . . . . . . . . . . . . . . . 60.20896.41
..................................
2010 768.81
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.68
. . . . . . . . . . . . . . . . . . . . . . . . . 72.69644.94
..................................
2011 553.58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.24
. . . . . . . . . . . . . . . . . . . . . . . . . .81.98
. . . . . . . . . . . . . . . . . . . . . 871.14
............
2012 776.92
fiction
foreign expenditures total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.55
. . . . . . . . . . . . . . . . . . . . . . . . . . 7.61131.65
...............................
2008 122.49
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.43
. . . . . . . . . . . . . . . . . . . . . . . .15.74137.03
.................................
2009 118.86
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.28
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.73195.91
...............................
2010 171.90
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.88
. . . . . . . . . . . . . . . . . . . . . . . . . .8.2094.68
...............................
2011 83.61
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.18
. . . . . . . . . . . . . . . . . . . . . . . 23.81183.97
..................................
2012 157.98
fiction
total expenditures total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21.09
. . . . . . . . . . . . . . . . . . . . . . . . . .39.13900.26
.................................
2008 840.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23.29
. . . . . . . . . . . . . . . . . . . . . . . . . . 48.50905.29
..................................
2009 833.50
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87.68
. . . . . . . . . . . . . . . . . . . . . . . . . 63.93
. . . . . . . . . . . . . . . . . .1,092.32
................
2010 940.71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21.56
. . . . . . . . . . . . . . . . . . . . . . . . . 80.89
. . . . . . . . . . . . . . . . . . . . . .739.63
............
2011 637.18
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.42
. . . . . . . . . . . . . . . . . . . . . . .105.80
. . . . . . . . . . . . . . . . . . . . .1,055.11
...............
2012 934.90
M
Domestic (France) and foreign
expenditures (in millions of €)
Base: French initiative films having received production
approval (169 films in 2008, 177 films in 2009,
190 films in 2010,169 films in 2011, 204 films in 2012).
06
Film production
N
The spending structure for all French initiative fiction films
that received production approval in 2011 remained similar
to 2011. The share of pay and salary costs (excluding
investments) still made up more than half of the average
cost of a fiction film (58.6% in 2012, 58.3% in 2011).
Within this group, the main production costs went toward
staff, (20.0% of the total cost in 2012, 18.8% in 2011), social
benefits (12.5% of the total cost in 2012, 13.0% in 2011)
and cast (10.9% of the total cost in 2012, 12.1% in 2011).
Filming expenses represented 29.2% of fiction film
production costs in 2012 (29.7% in 2011) and technical
expenses accounted for 12.3% (11.9% in 2011).
The share spent on staff compensation for fiction films
remained relatively stable, regardless of the cost of the film
(between 17.6% and 21.4% in 2012, depending on a film’s
budget category). The share spent on social benefits also
did not depend greatly on the total budget of the films
(between 9.1% and 14.3% in 2012). Depending on a film’s
budget category, the share of salary and pay expenditures
for producers ranged between 4.7% and 6.0% of the
total cost in 2012. The share spent on cast compensation
increased with the cost of the films: it was 7.8% for films
under €1 million and 11.8% for films over €7 milllion in
2012. The share spent on sets and wardrobe increased
proportionally to the cost of a fiction film: in 2012, it was
5.7% for films with budgets under €2 million and 8.3% for
films over €15 million. Artistic fees ranged between 6.8%
and 13.0% depending on the total cost of the film. The
proportion of technical costs («film – lab» and «technical
equipment») seemed to be inversely linked to the cost of
the film, representing 23.0% of total expenditures for fiction
films under €1 million in 2012, compared to 11.0% for films
above €15 million.
In 2012, the share of spending allocated for leading cast
decreased by 0.9 point to 6.8% of the total cost of fiction
films, reaching the lowest level in the past ten years. This
share was 3.7% for films under €1 million and 7.5% for
films over €7 million in 2012. In 2012, 17 films allocated
over €1 million for the leading cast, i.e. 10.2% of fiction
films. These 17 films accounted for 45.0% of total spending
in this category (34.6% in 2011). In 2012, one film spent
over €3 million on the leading cast (none did in 2011) and
three films allocated over €2 million for the leading cast
(two in 2011).
The share of spending allocated to supporting roles
decreased as well, but to a lesser extent (-0.2 point to 1.4%
of the total cost of fiction films). Conversely, the portion
of expenditures put towards minor role salaries increased
slightly (+0.1 point to 1.7% of total spending).
expenditures (in millions of €)
2008 2009
2010
2011
distribution (%)
201220082009 2010 2011 2012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527.98371.57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547.65
. . . . . . . . . . . . . . . . . . . . . . . . .54.6
. . . . . . . . . . . . . . . . . . . .56.3
. . . . . . . . . . . . . . . . . . . .56.1
. . . . . . . . . . . . . . . . . . . .58.3
. . . . . . . . . . . . . . . . . . . .58.6
........
pay and salaries 459.08469.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.1
. . . . . . . . . . . . . . . . . . . 8.2
. . . . . . . . . . . . . . . . . . . . 8.9
. . . . . . . . . . . . . . . . . . . . 9.4
. . . . . . . . . . . . . . . . . . . . 9.5
......
artistic fees 59.6268.7283.6559.9889.22
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25.83
. . . . . . . . . . . . . . . . . . . . . . . . .35.91
. . . . . . . . . . . . . . . . . . . . . . . 25.58
. . . . . . . . . . . . . . . . . . . . . . . . 40.463.13.13.84.04.3
...............................................................................................................
drafting fees 26.12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119.48
. . . . . . . . . . . . . . . . . . . . . . . . 187.00
. . . . . . . . . . . . . . . . . . . . . . . . .18.5
. . . . . . . . . . . . . . . . . . . .19.4
. . . . . . . . . . . . . . . . . . . .19.7
. . . . . . . . . . . . . . . . . . . .18.8
. . . . . . . . . . . . . . . . . . . .20.0
........
staff 155.21161.34184.94
. . . . . 35.4841.88
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45.6832.4751.844.25.04.95.15.5
...............................................................................................................................................................
producers . . . 108.30
. . . . . . . . . . . . . . . . . . . . . . . . . . 95.20
. . . . . . . . . . . . . . . . . . . . . . 102.52
. . . . . . . . . . . . . . . . . . . . . . . . . . .77.09
. . . . . . . . . . . . . . . . . . . . . 102.2812.911.410.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.110.9
............................
cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56.0864.1549.12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63.498.06.76.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.76.8
.........................
leading cast 67.14
. . . . . .13.54
. . . . . . . . . . . . . . . . . . . . . . . .14.30
. . . . . . . . . . . . . . . . . . . . . . . .14.62
. . . . . . . . . . . . . . . . . . . . . . . .10.03
. . . . . . . . . . . . . . . . . . . . . . . .13.271.61.71.61.61.4
..............................................................................................................
supporting cast . . . . . . . .8.33
. . . . . . . . . . . . . . . . . . . . . . . .6.88
. . . . . . . . . . . . . . . . . . . . . . . .6.91
. . . . . . . . . . . . . . . . . . . . . . . . 6.16
. . . . . . . . . . . . . . . . . . . . . . . . .7.141.00.80.71.00.8
...........................................................................................................
minor roles . . . 100.47
. . . . . . . . . . . . . . . . . . . . . . . . 102.06111.19
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82.55117.3112.012.211.813.012.5
.......................................................................................................................................
social benefits . . . .120.11110.54126.94
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76.05114.54
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.3
. . . . . . . . . . . . . . . . . . . .13.3
. . . . . . . . . . . . . . . . . . . .13.5
. . . . . . . . . . . . . . . . . . . . 11.9
. . . . . . . . . . . . . . . . . . . .12.3
........
technical technical equipment 82.3071.0684.2149.2179.599.88.59.0 7.78.5
....................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.4842.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.84
. . . . . . . . . . . . . . . . . . . . . . . . 34.954.54.74.54.23.7
...............................................................................................................
film – lab 37.80
. . .260.86253.76285.79189.56272.71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.130.430.429.729.2
........................................................................................
filming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69.5385.52
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48.66
. . . . . . . . . . . . . . . . . . . . . . . . 66.568.88.39.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.6
. . . . . . . . . . . . . . . . . . . .7.1
.....
sets and wardrobe 73.57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78.22
. . . . . . . . . . . . . . . . . . . . . . . 88.25
. . . . . . . . . . . . . . . . . . . . . . . . 64.8994.159.89.49.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.2
. . . . . . . . . . . . . . . . . . . . 10.1
........
transport, travel, control room 81.91
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52.5453.7836.10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56.956.86.35.75.76.1
...............................................................................................................
insurance and related costs 57.22
. . . . . .48.1653.4758.2439.9255.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.7
. . . . . . . . . . . . . . . . . . . . 6.4
. . . . . . . . . . . . . . . . . . . . 6.2
. . . . . . . . . . . . . . . . . . . . 6.3
. . . . . . . . . . . . . . . . . . . . 5.9
......
miscellaneous1 total . . .840.04
. . . . . . . . . . . . . . . . . . . . . . . .833.50
. . . . . . . . . . . . . . . . . . . . . . . .940.71
. . . . . . . . . . . . . . . . . . . . . . . . .637.18
. . . . . . . . . . . . . . . . . . . . . . .934.90100.0100.0100.0100.0100.0
.................................................................................................................
N
Distribution of production costs for fiction films
1
The «Miscellaneous» category includes general fees and unexpected expenditures.
Base: French initiative fiction films approved for production financing (141 films in 2008,
142 films in 2009, 160 films in 2010, 136 films in 2011,166 films in 2012).
subscriptions
Thirty French initiative documentaries were approved for
production in 2012, three more films than in 2011. The total
cost of these films was €14.42 million, a 33.1% decrease
tied to the absence of high-budget documentaries in 2012
(no title was approved with a budget greater than €2 million,
versus three in 2011).
In 2012, compensation accounted for more than half
of production expenditures for documentaries at 56.5%,
up 2.9 points from 2011 and the highest share since the
implementation of this study. Technical costs were in second
place, accounting for 22.1% of total documentary expenses
in 2012 (23.9% in 2011), just ahead of filming costs
(21.3% of documentary production budgets in 2012 and
22.5% in 2011).
19 out of 30 French initiative documentaries approved in
2012 involved expenditures abroad (17 in 2011), accounting
for 63.3% of approved documentaries (63.0% in 2011).
These expenditures represented 15.1% of total spending
in the genre (slightly higher than in 2011) but did not reach
the levels of 2007 and 2010, exceptionally high due to highbudget international co-productions. In terms of value,
spending abroad decreased by 24.3% from 2011, down to
€2.18 million in 2012. One film alone accounted for 30.4%
of documentary expenditure abroad.
Between 2003 and 2012, 45 French initiative animated
films were approved for production. Production expenses
for these films totaled €512.38 million.
In the ten years studied, staff compensation accounted
for the highest proportion of animation expenditures
(29.7% of total costs), followed by technical equipment
(23.5%) and miscellaneous costs (11.0%). Voice acting
represented €12.65 million, i.e. 2.5% of total production
costs for animated films between 2003 and 2012. On average,
18.8% of production spending for animated films produced
between 2003 and 2012 occurred abroad.
television
service
distributors
film channels
prepurchases
€ 231.7 million2
FTA television
channel
TV service tax
(TST)
€ 524,5 million5
SOFICA
co-productions
€ 48.0 million2
prepurchases
€ 80.0 million2
FILM PRODUCTION
€ 45.1 million9
€ 5.8 million
€ 26.9
€ 44.7 million2
contributions
€ 316.82
foreign
co-producers
use & operation agreements4 € 223.9 million
million8
regional funds
video /
VoD tax10
€ 31.0 million
cinema admission tax (TSA)
€ 144.0 million
€ 251.7 million6
€ 63.1 million1
distributors receipts
€ 523.6 million
video publishers
VoD
international
sellers
distributors
theaters
video retail
advertising7
€ 105.0 million
box office receipts
€ 1,305.6 million
advertisers
consumption
€ 1,121.1 million3
PUBLIC
Primary sources of funding for cinema production in 2012 (€ million)
1
2011 collected funds from financing made in 2012 and January 2013 (cinema and television).
SOFICAs must invest 90% of their collected funds into films or television production.
2
Financing for approved films in 2012.
3
Retail and rental of physical video media.
4
Theater distribution and video release agreements (in France and abroad).
5
Sales tax assessed to television service publishers and distributors.
6
Estimated 100% video on demand sales on non-specialized platforms, all taxes included.
7
Gross advertising investment after rabate.
8
Estimated budget of film support in the agreements concluded between the CNC and the local authorities in 2011.
9
CNC’s automatic and selective support for approved films in 2012.
10
Tax on final turnover on video and video on demand, all genres included.
Sources:
Funding approval issued by the CNC;
Gross advertising investments in France in 2012 –IREP;
Effective receipts of the CNC in 2012;
Box-office receipts declared by exhibitors to the CNC;
CNC-GfK video barometer;
GfK-NPA Conseil VoD barometer;
Balzance by Christophe Barbier. © Images et Compagnie / France 3.
Le Métis de Dieu by Ilan Duran Cohen. © Scarlett Production / Arte France.
Mouk. © Millimages / France 5.
No Limit. © EuropaCorp Télévision / TF1.
Molusco.
© Je suis bien content / France 3.
07
Support for Television Production
Paysages d’ici et d’ailleurs. © Arte France.
In 2012, the CNC financially supported the production of 5,151 hours
of French television programming (+6.2% compared to 2011),
a rate never seen before since the support funds were created in 1986.
Only animation experienced a decline in production volume.
Le Silence des églises by Edwin Bailly. © France 2.
La Dernière Campagne by Bernard Stora. © Gilles Gustine – France Télévisions.
Crossing Lines.
© Tandem Productions / TF1 Productions.
Metal Hurlant Chronicles. © France 4.
07
Calculating financial support for production
The production results in 2012 concern television works
receiving financial support from the CNC in 2012.
These data are different from that of the CSA (which
refer to the channels production obligations) for
two main reasons:
_ CSA statistics concern “television works”, a broader
concept than the programs supported by the CNC;
_ Dates for taking productions into account are not
the same: the CNC uses the date when a request
for funding was made; the CSA uses the date when
filming begins.
a small percentage in 2012, accounting for 1.7% of
broadcaster investments in fiction, 8.5% for documentaries,
5.9% for animation and 4.6% for live shows. Pay TV
channels (Canal+ and specialty channels) represented
22.2% of supported hours and represented 11.9%
of all broadcaster allocations in 2012 (23.9 % and 13.5%,
respectively, in 2011). Their share of total broadcaster
allocations was larger for documentaries (16.0%) and
animation (32.3%) than for live shows (10.1%) and fiction
(8.2%). Setting aside live shows (18.5% of total broadcaster
investments) and documentaries (4.2%), local channels
played a secondary role in the funding of CNC-supported
television productions.
Funding from foreign partners totaled €115.4 million
in 2012 (-4.2% compared to 2011). It represented 8.2%
of financing for audiovisual programs (7.0% for fiction,
4.5% for documentaries, 23.1% for animation and
7.2% for live shows).
All results of financial support by the CNC of television
production is available in the study Television
Production Supported Financially in 2012, published
in April 2013 and available on the website www.cnc.fr.
production
development
duration budget
broadcasterssupport support
1
(hours) (€M)
(€M)
(€M) (€M)
2008
. . . . . . . . . .912741.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.9
.....
fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.8
.....
documentaries 2,059320.0
. . . . . . . . . 259151.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . .30.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.7
.....
animation . . . . . . . . . 40160.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . .16.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.0
.....
magazines . . . . . . . . . 35427.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
live shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .753.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . .200.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.4
.....
total . . . . . 3,9861,302.0
2009 . . . . . . . . . 752664.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.9
.....
fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.1
.....
. . . . . . . . . 347201.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . .42.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.5
.....
animation . . . . . . . . . 48675.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . .19.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.1
.....
magazines . . . . . . . . . 43534.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
live shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .761.3
. . . . . . . . . . . . . . . . . . . . . . . . . . .208.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.6
.....
total . . . . .4,2441,320.8
2010 . . . . . . . . . 731678.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.2
.....
fiction A
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.7
.....
VOLUME OF PRODUCTION SUPPORTED
INCREASED BY 6.2%
In 2012, the CNC financially supported the production
of 5,151 hours of French television programming (+6.2%
compared to 2011). Only animation experienced a decline
in production volume. Television programming budgets
financially supported by the CNC decreased 4.9%
to €1,412.9 million. This evolution is comparable to that
of the broadcaster investments (+5.2% to €797.6 million).
CNC production aid decreased, but to a lesser extent:
-1.0% to €225.8 million.1
FTA national channels accounted for 85.5% of total
television channel investments, compared to 84.6%
in 2011. This proportion varied depending on the genre,
but still represented the lion’s share in 2012 with 91.5%
for fiction in 2011, 79.5% for documentaries, 66.7%
for animation and 64.5% for live shows. Among these
channels, FTA DTT private channels managed to retain
B
FICTION
Financing of fiction
In 2012, the volume of fiction works produced was stable,
at 768 hours (-0.8% compared to 2011). This growth
is the result of a decline in volume ordered by national
private channels. Fiction accounted for 14.9% of total
television program hours supported by the CNC in 2012,
After reaching historical levels in 2011, fiction program
budgets fell 11.3% to €667.4 million. Consequently, the
average hourly cost also fell, by 10.5% to €869.5 thousand.
The drop in average hourly production costs for fiction
is explained by the sharp increase (+64.7%) in the volume
of short-format films (175 hours, including 151 hours
of series).
. . . . . . . . . 320181.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . .38.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.1
.....
animation . . . . . . . . . 52984.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . .22.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.1
.....
magazines . . . . . . . . . 37730.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
live shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . .209.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.1
....
total . . . . . .4,4171,369.7
2011 . . . . . . . . . 774752.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.3
.....
fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.4
.....
. . . . . . . . . 355217.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . .42.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.0
.....
animation . . . . . . . . . 62192.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . .24.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
magazines . . . . . . . . . 43535.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
live shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .841.0
. . . . . . . . . . . . . . . . . . . . . . . . . . .228.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.7
.....
total . . . . . 4,8501,485.5
2012 . . . . . . . . . 768667.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .467.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.2
.....
fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.4
.....
. . . . . . . . . 298181.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . .36.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.4
.....
animation . . . . . . . . . 69791.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . .26.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.1
.....
magazines . . . . . . . . . 46734.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.1
.......................................
live shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .797.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . 225.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.0
.....
total . . . . . .5,1511,412.9
1
Automatic and selective support for production,
including additional support and subsidies under “Web COSIP”.
A
Supported television production1
1
Including additional support and subsidies
under Web COSIP.
In 2012, broadcaster contributions to fiction programs
decreased 12.9% compared to 2011 to €467.5 million
after the drop in contributions from FTA public channels
and pay TV channels. Their share of the genre’s financing
fell 1.4 points compared to 2011 to 70.0% in 2012.
The number of broadcaster hours contributed decreased
12.2% between 2011 and 2012. They contributed an average
of €609.1 thousand per hour of fiction produced in 2012,
compared to €693.6 thousand in 2011. Producer
contributions declined by 20.7% to €59.8 million in 2011.
Producer contribution shares came to 9.0% (10.0% in 2010).
Contributions from the CNC fell 7.2% to €71.5 million
in 2012 (including additional support). The CNC’s portion
of contributions increased to 10.7%, while the share
of foreign contributions grew significantly (+2.1 points
to 7.0%) Foreign contributions (to co-production and
pre-sales combined) reached their highest level since
2003. They totaled €47.0 million in 2012 (€36.6 million
in 2011). Co-production contributions grew 83.8%
to €32.7 million while pre-sales fell 23.9% to €14.3 million.
The number of program hours concerned decreased
by 1.6%.
In 2012, foreign partners financed 335 hours of fiction
programming (340 hours in 2011). Also in 2012,
43.6% of the total hours of fiction produced received
foreign financing (43.9% in 2011).
In 2012, major co-productions comprised 97.8% of the fiction
works that received foreign financing; they also captured
62.6% of total foreign support. These co-productions
were the only category to experience growth in foreign
contributions. Foreign contributions to French majority
works totaled €29.5 million in 2012 (€13.1 million in 2011).
C
Short format series growth
In 2012, 52-minute films were the leading format for
fiction (26.7% of hours supported), ahead of 26-minute
films (26.3%), 90-minute films (24.2%) and short-format
films (22.8%). The volume of short-format films increased
64.7% over 2011, to 175 hours (including 151 hours
of series and 24 hours of one-episode programs).
The volume of 26-minute films grew 1.6% to 202 hours
in 2012. By contrast, 52-minute films (-12.0% to 205 hours)
and 90-minute films (-21.4% to 186 hours) had fewer
hours. The volume of 90-minute films halved between
2003 and 2012, while the volume of 26-minute films tripled.
hours
cost per hour (€ thousand)
20082009 2010 2011 2012 2008 2009 2010 2011 2012
one-episode short films . . . . . . . .16
. . . . . . . . . . . . . . . . . . . .14
. . . . . . . . . . . . . . . . . . . .20
. . . . . . . . . . . . . . . . . . . .13
. . . . . . . . . . . . . . . . . . . 24363.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336.1353.5334.9315.5
............................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,210.0
. . . . . . . . . . . . . . . . . . . . . . . . . 876.6
. . . . . . . . . . . . . . . . . . . . . . 641.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . 212.8
..........
one-episode 52-minute programs 556
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
. . . . . . . . . . . . . .1,399.1
. . . . . . . . . . . . . . . . . . . . . .1,461.7
. . . . . . . . . . . . . . . . . . . . . .1,466.1
. . . . . . . . . . . . . . . . . . . . . .1,487.5
. . . . . . . . . . . . . . . . . . . . . 1,520.9
..............
one-episode 90-minute programs 152134180136
. . . . .739
. . . . . . . . . . . . . . . . . . . .599
. . . . . . . . . . . . . . . . . . . .526
. . . . . . . . . . . . . . . . . . . .626
. . . . . . . . . . . . . . . . . . . .629699.4766.4768.1872.9776.6
....................................................................................................................
series and soap operas . . . . . . . .27
. . . . . . . . . . . . . . . . . . . .15786
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,742.0
. . . . . . . . . . . . . . . . . . . . . . 1,367.1
. . . . . . . . . . . . . . . . . . . . . .1,601.7
. . . . . . . . . . . . . . . . . . . . . 1,434.8
. . . . . . . . . . . . . . . . . . . . . . 1,526.4
..............
collections . . . . . . . . . . . . . . . . . . . .55
. . . . . . . . . . . . . . . . . . . .76
. . . . . . . . . . . . . . . . . . . 80
. . . . . . . . . . . . . . . . . . . . 671,304.11,422.71,393.01,431.51,434.7
..................................................................................................................
90-minute series . . . . . . . .39
. . . . . . . . . . . . . . . . . . . .36
. . . . . . . . . . . . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . .12
. . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . .1,272.11,589.31,279.52,046.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
90-minute mini-series . . . . . . . .10
20082009 2010 2011 2012
French financing 715.9
. . . . . . . . . . . . . . . . . . . . . .647.1656.6715.8620.3
.....................................................................
French producers 75.759.362.975.359.8
...........................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.15.6
........................
pre-sales in France 6.54.33.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .467.5
.........
broadcasters 528.6493.4499.3536.9
...........................................................................................
SOFICA 2.61.21.20.30.4
...........................................................................................
CNC 87.271.767.974.770.7
...........................................................................................
CNC additional support1 0.41.81.72.30.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.115.5
..........................
other 15.015.420.1
. . . . . . . . . . . . . . . . . . . . . . . . 17.221.536.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.0
.......
foreign financing 25.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.832.7
...........................
foreign co-productions 10.212.212.8
. . . . . . . . . . . . . . . . . . . . . . . . . . 5.0
. . . . . . . . . . . . . . . . . . . . 8.718.914.3
.............................................
pre-sales abroad 15.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .678.1752.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667.4
..........
total financing . .741.6664.3
B
Financing for fiction (€ million)
1
. . . . . . . . . . . . . . . . . . . .117
. . . . . . . . . . . . . . . . . . . 156
. . . . . . . . . . . . . . . . . . . . 225
. . . . . . . . . . . . . . . . . . . .203
. . . . . . . . . . . . . . . 1,132.8
. . . . . . . . . . . . . . . . . . . . . . 1,170.01,259.81,305.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,307.3
.............
52-minute series . . . . . .215
. . . . . . . .19
. . . . . . . . . . . . . . . . . . . .6238
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . .1,122.1
. . . . . . . . . . . . . . . . . . . . . .1,173.1
. . . . . . . . . . . . . . . . . . . . .1,199.9
. . . . . . . . . . . . . . . . . . . . . 1,035.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
52-minute mini-series . . . . . 358
. . . . . . . . . . . . . . . . . . . . 232
. . . . . . . . . . . . . . . . . . . . 216
. . . . . . . . . . . . . . . . . . . . 198
. . . . . . . . . . . . . . . . . . . .202
. . . . . . . . . . . . . . . . . . .327.7304.5284.2303.6360.6
.................................................................................................
26-minute series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . .415.5
. . . . . . . . . . . . . . . . . . . . .890.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . . . ..
26-minute mini-series -1---
. . . . . . . .71
. . . . . . . . . . . . . . . . . . . .80
. . . . . . . . . . . . . . . . . . . 64
. . . . . . . . . . . . . . . . . . . . 94
. . . . . . . . . . . . . . . . . . 151340.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261.2
. . . . . . . . . . . . . . . . . . . . . . .317.7344.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297.4
..........
short-format series . . . . . 912
. . . . . . . . . . . . . . . . . . . .752
. . . . . . . . . . . . . . . . . . . . 731
. . . . . . . . . . . . . . . . . . . .774
. . . . . . . . . . . . . . . . . . . .768
. . . . . . . . . . . . . . . . . . 813.0883.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 927.3972.0869.5
......................................................
total C
Fiction program formats1
1
A one-episode program is a fiction program that is single or made of two parts depending
on TV requirements, consisting of a finished story. One-episode short format programs
generally do not exceed 30 minutes.
A series is a sequence of fiction programs with common elements (characters and sets
for example). A soap opera is a series with story continuity from one episode to the other.
Short format series generally do not exceed 15 minutes per episode. A mini-series can be
defined as a series including at least three episodes, not meant to have additional episodes.
A collection corresponds to a set of fiction programs gathered around a single topic,
author or artistic ambition and not containing any recurrent elements.
Support granted after the initial decision.
07
D
TV channel investments in fiction
FTA national channels
In 2012, the volume of fiction initiated by the FTA national
channels remained stable compared to 2011 (+0.4%
to 678 hours). Their total investments fell 9.7%
to €427.9 million. FTA public channels decreased their
financial contributions by 15.6% (€255.6 million) and
the number of hours initiated fell by 4.5% to 438 hours.
Investment from private FTA national channels remained
flat (+0.9% to €172.2 million) for a 10.9% increase in the
number of initiated hours to 240 hours. In 2012, fiction
volume initiated by private FTA DTT channels (excluding
traditional channels) increased 81.3% compared to 2011
(59 hours in 2012, compared to 33 hours in 2011) and
their total investments grew 132.9% (€7.9 million in 2012
compared to €3.4 million in 2011). These channels
accounted for 1.7% of total broadcaster investments
in the genre (0.8% in 2011).
_ FTA public channels
In 2012, France Télévisions channel supported the
production of 428 hours of fiction, including 426 as the
primary broadcaster (+2.1%), with total contributions
declining 9.8% to €248.9 million. France Télévisions thus
provided 53.3% of total channel investments to fiction
production in 2012 (51.4% in 2011).
France 2’s contribution fell for the fourth year in a row.
The channel contributed €106.8 million in 2012 (-25.9%
compared to 2011) and financed 138 hours of fiction,
including 137 as the primary broadcaster (-17.7%).
Its share in production budgets fell (-1.0 point to 70.5%).
Television series and soap operas made up 64.1% of fiction
ordered by France 2 (68.0% in 2011). The volume of 52-minute
series and mini-series ordered by the channel decreased
by 21 hours over 2011 and the volume of 90-minute series
and mini-series fell by 11 hours.
Financial contributions from France 3 (excluding France
3 Régions) to fiction production reached record highs
in 2012; as the channel participated in 222 hours
of production, all as the primary broadcaster (+9.6%),
with total investments increasing 7.4% to €138.7 million.
Its rate of coverage as the primary broadcaster was 79.6%
of budgets in 2012, 2.3 points more than the previous year.
Of all fiction volume ordered by France 3, 78.7% consisted
of series and soap operas (76.9% in 2011). The volume
of 26-minute series initiated by the channel increased
by 11 hours between 2011 and 2012, to 117 hours.
In 2012, as the primary broadcaster, France 4 helped
produce a series of 6 episodes, each 26 minutes long,
and one short-format series. Total investments came
to €0.2 million, compared to €0.4 million in 2011.
In 2012, Arte supported the production of 15 hours of fiction,
including 12 hours as the primary broadcaster (48 hours,
including 42 as the primary broadcaster, in 2011),
with total contributions of €6.7 million (€27.1 in 2011).
The channel made fewer investments, due in part
to production cycles inherent to 52-minute series. Arte’s
fiction orders in 2012 consisted of 61.4% one-episode
90-minute programs (51.3% of television series and soap
operas in 2010).
_ FTA private channels
In 2011, TF1 contributed €144.4 million (+1.2% compared
to 2011) to the production of 139 hours of fiction,
all as the primary broadcaster (+17.9%). TF1 covered
68.8% of its television programming budget in 2012
(79.5% in 2011). Series and soap operas accounted
for 93.4% of the fiction volume ordered by TF1 in 2012
(91.0% in 2011). The volume of 90-minute fiction works
initiated by the channel fell 18 hours to attain 41 hours.
At the same time, the volume of 52-minute fiction works
increased by 20 hours to reach 79 hours.
Fiction work financed by M6 in 2012 totaled 51 hours,
including 41 as the primary broadcaster (65 hours,
all as the primary broadcaster, in 2011). Investments
by this channel reached €19.9 million (€24.6 million in 2011).
As the primary broadcaster, M6 financed 72.9% of fiction
budgets (41.9% in 2011). In terms of hours, series
and soap operas accounted for 96.4% of fiction ordered
by M6 in 2012 (97.7% in 2011). Short-format series made
up 84.9% of this same volume.
Six private FTA DTT channels helped fiction production
in 2012 (four in 2011): NRJ12, NT1, TMC and W9 as primary
broadcasters, Chérie 25 as primary or secondary
broadcaster and Direct 8/D8 as secondary broadcaster
only. They invested a total of €7.9 million in 66 hours
of programming, including 59 hours as primary
broadcasters (€3.4 million for 34 hours, including
33 as the primary broadcaster, in 2011). W9 contributed
€3.4 million (+57.3% compared to 2011) for 18 hours
of programming (+76.5%). NRJ12 invested €1.4 million
(€25 million in 2011) in 16 hours of programming (2 hours
in 2011). TMC contributed to 18 hours of programming
(-20.7%) for a total of €1.3 million (+15.3%).
Pay TV channels
In 2012, the volume of fiction programs initiated by pay
TV channels (Canal+ and specialty channels) decreased
by 14 hours compared to 2011 (-16.2 % to 75 hours). Their
total investments fell 39.1% to €38.1 million (€62.6 million
in 2011). The total number of hours of fiction supported
by pay TV channels fell by 6.5% (223 hours in 2012,
compared to 210 hours in 2011). Pay TV channels accounted
for 8.2% of total investments by broadcasters in the
production of fiction (11.7% in 2011) and initiated
9.7% of hours produced (11.5% in 2011).
Canal+ contributed €31.8 million for 41 hours of fiction,
all as the primary broadcaster (€54.7 million for 53 hours
in 2011). The channel’s reduced participation is explained
in part by production cycles inherent to 52-minute series.
Canal+ financed 50.7% of its programs (71.2% in 2011).
In terms of hours, series and soap operas accounted
for 76.6% of programming ordered by the channel in 2012
(84.1% in 2011).
In 2012, 17 specialty channels broadcast on cable,
Internet TV, satellite or DTT channels invested in fiction
works (16 channels in 2011). Investment by these channels
fell 20.4% to €6.3 million in 2012 (€7.9 million in 2011)
to reach 190 hours, including 34 as primary broadcasters
(196 hours, including 36 as primary broadcasters in 2011).
They accounted for 1.3 % of all broadcaster investments
in fiction supported by the CNC in 2012 (1.5 % in 2011).
On average, specialty channels covered 43.1% of fictions
budgets that they initiated (47.8% in 2011).
Local channels
In 2012, 13 local channels invested in fiction works,
five channels more than in 2011. They helped finance
18 hours of fiction, including 7 hours as primary
broadcasters (75 hours, including 8 hours as primary
broadcasters in 2011). The contributions of all
broadcasters taken together decreased 3.1% to €0.5 million
in 2012. They accounted for 0.1% of all broadcaster
investments in fiction supported by the CNC. Local channels
initiated only the production of one-episode short-format
programs.
broadcasters
allocations2
1
2
hours in process total hours (€ million)
201120122011201220112012
FTA public channels3 459438461438
303.0
255.6
.......................................................................................................................................
FTA private channels 4 . . . . . . . . . .216
. . . . . . . . . . . . . . . . . . . . . . .240
. . . . . . . . . . . . . . . . . . . . . . . . 218
. . . . . . . . . . . . . . . . . . . . . . . .256170.7172.3
......................................................
FTA DTT private channels5 . . . . . . . . . . . .33
. . . . . . . . . . . . . . . . . . . . . . . .59
. . . . . . . . . . . . . . . . . . . . . . . 34
. . . . . . . . . . . . . . . . . . . . . . . . 663.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.9
.....
total FTA national channels 675678678695
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473.7
. . . . . . . . . . . . . . . . . . . . . . . . 427.9
..........
pay TV channels . . . . . . . . . . . .89
. . . . . . . . . . . . . . . . . . . . . . . .75
. . . . . . . . . . . . . . . . . . . . . 210
. . . . . . . . . . . . . . . . . . . . . . . .22362.638.1
......................................................
. . . . . . . . . . . . . .8
. . . . . . . . . . . . . . . . . . . . . . . .7
. . . . . . . . . . . . . . . . . . . . . .75
. . . . . . . . . . . . . . . . . . . . . . . .180.50.5
...................................................
local channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.1
. . . . . . . . . . . . . . . . . . . . . . . . 1.0
.....
online services 1818
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .536.9
. . . . . . . . . . . . . . . . . . . . . . . . 467.5
..........
total 774768774768
Online services
In 2012, online services took in €1.0 million for the production
of 8 hours of fiction programs, all as primary broadcasters
(€0.1 million for 1 hour in 2011). Their contribution
represented 0.2% of total broadcaster investments
into the genre. The production of fiction initiated by these
services was comprised exclusively of short-format series.
D
Number of hours ordered and investments
in fiction by broadcasters
As primary broadcaster.
All broadcasting ranks taken together.
France Télévisions + Arte.
4
M6 + TF1 + FTA DTT private channels.
5
Direct 25 + Direct 8/D8 + NRJ12 + NT1 + TMC + W9.
1
2
3
hourly
cost per hour contributions financing
(€ thousand)
(€ thousand)
rate (%)
201120122011201220112012
FTA public channels2 911.8787.4657.5581.6 72.1 73.9
.......................................................................................................................................
FTA private channels3 . . .1,131.01,025.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788.6
. . . . . . . . . . . . . . . . . . . . . . . . 690.7
. . . . . . . . . . . . . . . . . . . . . . . . . . .69.7
. . . . . . . . . . . . . . . . . . . . . . . .67.4
.......
FTA DTT private channels4 205.7282.4102.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119.7
. . . . . . . . . . . . . . . . . . . . . . . . . .50.0
. . . . . . . . . . . . . . . . . . . . . . . .42.4
.......
total FTA national channels . . . . . .982.1
. . . . . . . . . . . . . . . . . . . . . . . .871.7
. . . . . . . . . . . . . . . . . . . . . . . 699.5
. . . . . . . . . . . . . . . . . . . . . . . . 620.271.271.2
..........................................................
pay TV channels . . . . . .981.7969.8670.8481.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68.3
. . . . . . . . . . . . . . . . . . . . . . . .49.7
.......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42.3
. . . . . . . . . . . . . . . . . . . . . . . .44.9
. . . . . . . . . . . . . . . . . . . . . . . .22.0
. . . . . . . . . . . . . . . . . . . . . . . .15.6
.......
local channels 192.7288.1
. . . . . .118.7236.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92.3132.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77.8
. . . . . . . . . . . . . . . . . . . . . . . 56.0
........
online services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70.8
. . . . . . . . . . . . . . . . . . . . . . . 68.6
........
total 972.0869.5688.1596.6
D
Cost and hourly investment in fiction by broadcasters1
4
1
2
3
07
E
DOCUMENTARIES
Financing of documentaries
With a total of 2,921 supported hours in 2012 (+9.6%
compared to 2011), documentaries continued their increase
that began in 2008 and reached historical levels. In 2012,
the recorded rise resulted from orders from private FTA
DTT channels (+165 hours compared to 2011) and from
France Télévisions (+161 hours).
Documentary program budgets followed the same trend,
reaching record levels (+12.8% to €437.9 million).
The average hourly cost rose 2.9% to €149.9 thousand
but remained lower than the past decade (an average
of €151.9 thousand per hour).
Documentaries accounted for 56.7% of total television
program hours supported by the CNC, compared to 54.9%
in 2011 and 60.8% in 2003.
Financial commitments from broadcasters for
documentaries increased 17.9% over 2011 to reach
€223.3 million. They covered 51.0% of total budgets for
the genre (+2.2 points). Hourly broadcaster contributions
came to €76.4 thousand in 2012, a 7.5% increase over 2011.
In 2012, contributions from French producers increased
10.9% over 2011 to reach €68.4 million. Producers financed
15.6% of budgets (15.9% in 2011).
Subsidies from the CNC given to French documentary
producers came to €87.0 million in 2012, an 8.3% increase
compared to 2011. CNC support covered 19.9% of total
financing for the genre (-0.8 points compared to 2011).
Foreign contributions to French documentary production
increased 15.2% to €19.2 million, of which €4.5 million
were from pre-sales (-23.2%) and €15.0 million were from
co-production contributions (+35.5%). Three hundred
and sixty-five documentary hours were French majority
co-productions in 2012 and received €15.4 million in total
foreign financing. Furthermore, 23 hours were for French
minority programming, which received €4.2 million
in foreign financing. In 2012, foreign financing covered
4.5% of total documentary budgets, compared to 4.4%
in 2011.
20082009 2010 2011 2012
French financing 298.5324.5372.7371.2418.3
...........................................................................................
French producers 53.755.466.1 61.768.4
...........................................................................................
...........................................................................................
pre-sales in France 5.84.25.54.64.5
. . . . . . . . . . . . . . . . . . .163.1194.0189.4223.3
.....................................................................
broadcasters . . .147.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.10.3
........................
SOFICA 0.40.30.2
. . . . 61.766.873.679.786.7
.......................................................................................
CNC ...........................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35.134.9
...........................
other 29.433.932.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.019.5
...........................
foreign financing 21.520.622.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11.115.0
..........................
foreign co-productions 15.512.913.7
. . . . . . . . . . . . . . . . . . . . . . . . . . .7.79.05.94.5
................................................................
pre-sales abroad 6.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437.9
..........
total financing 320.0345.0395.4388.1
E
Documentary financing (€ million)
1
F
Channel investments in documentaries
In 2012, the number of documentary hours ordered
by FTA national channels continued to increase
and came to 1,884 hours (+15.6% compared to 2011).
This increase was due to heavy involvement by private
FTA DTT channels, whose orders increased 57.8%
(+165 hours as the primary broadcaster). FTA national
channels invested €177.6 million in television documentary
production, an increase of 20.1% compared to 2011.
In 2012, 1,290 documentary hours were ordered by FTA
public channels, compared to 1,136 hours in 2011 (+13.6%).
Their total investments increased 24.0% to €143.8 million,
all broadcasters taken together. The average contribution
grew 9.9% over 2011, reaching €109.7 thousand per hour
ordered. In 2012, FTA public channels provided funding
for 44.1% of supported documentary hours and 64.4%
of all broadcaster contributions for this genre (42.6%
and 61.2% respectively in 2011). The rate of participation
for FTA public channels was 52.1% of budgets. Documentary
programs financed by FTA public channels had higher
hourly costs, with an average of €210.7 thousand,
compared to €201.3 thousand in 2011.
Support provided by producers as primary broadcasters
to produce documentaries ordered by FTA public channels
totaled €43.9 million (50.7% of total support provided
for the genre in 2012), an increase of 14.6% over 2011.
All channels taken together, France Télévisions financed
1,045 documentary hours (+17.9% compared to 2011),
including 1,009 as the primary broadcaster (+19.0%)
with total investments of €109.2 million (+28.7%).
France 3 (including France 3 Régions) financed
487 documentary hours, including 434 as the primary
broadcaster (413 hours, including 356 as the primary
broadcaster, in 2011). This increase in volume (+17.8%
all broadcasters taken together) was accompanied
by a 36.3% increase in investments to €46.6 million.
National France 3 ordered over 90 minutes more
in programming. In 2012, France 3 and its regional units
accounted for 14.8% of documentary orders and 20.9%
of broadcaster financing for the genre (13.4% and 18.0%,
respectively, in 2011).
France 2 increased its volume of documentaries by 24.3%
(from 157 hours, including 155 as the primary broadcaster,
in 2011, to 195 hours, including 193 as the primary
broadcaster, in 2012), and its investments rose by 50.8%
to €33.0 million.
In 2012, France 5 financed 218 hours, including 214
as the primary broadcaster (243 hours, including 237
as the primary broadcaster, in 2011). Its financial contribution
fell for the second year in a row 9.9% to €22.2 million.
Arte invested in 266 documentary hours in 2012,
including 261 as the primary broadcaster (266 hours,
including 259 as the primary broadcaster, in 2011).
The channel invested €33.7 million toward financing
its programs, an increase of 11.3% compared to 2011.
Arte provided funding for 8.9% of supported documentary
hours in 2012 and 15.1% of all broadcaster contributions
for this genre (9.7% and 16.0%, respectively, in 2011).
In 2012, FTA private channels increased their documentary
order volume again (595 hours initiated, compared to
494 in 2011 and 346 in 2010). Their contributions showed
a smaller increase (+5.8% to €33.8 million), resulting
in a noticeable drop in their hourly financing (an average
of €56;0 thousand compared to €64.2 thousand in 2011).
The hourly cost for programs ordered by private free
national broadcasters fell 10.4% to €94.5 thousand,
causing the rate of coverage by primary broadcasters
to drop to an average of 59.2% for production budgets
(60.9% in 2011).
In 2012, M6 decreased its order volume to 123 hours,
compared to 183 hours in 2011, all as the primary
broadcaster. The channel’s investments fell 31.5%
to €12.3 million. In 2012, M6 financed 68.4% of production
budgets for documentary programs (69.5% in 2011).
Total documentary hours ordered by TF1 fell for
the second year in a row to 25 hours, including 23 hours
as the primary broadcaster (28 hours, all as the primary
broadcaster, in 2011). The channel contributed €2.5 million
(-9.3%), representing 1.1% of investments across all free
national channels in 2012.
In 2012, eight private FTA DTT channels invested
in documentaries, one more than in 2011 (the new Chérie 25
channel). Taken together, these channels increased
their investments 68.8% (€19.0 million in 2012), with the
number of hours growing 56.1% to 460 hours, including
449 as primary broadcasters (294 hours, including
284 as primary broadcasters in 2011). They accounted
for 15.4% of broadcaster documentary orders and 8.5%
of broadcaster contributions (10.7% and 6.0%, respectively,
in 2011). They financed 53.9% of documentary programs
as primary broadcasters in 2012, 4.0 points less than in 2011.
With €7.9 million invested in 204 hours of programming,
including 190 hours as the primary broadcaster (€3.5 million
in 101 hours, all as the primary broadcaster, in 2011), NRJ12
was the most active private FTA DTT channel in the genre.
Between 2011 and 2012, hourly volumes more than
quadrupled for Gulli (18 hours in 2012) and grew 63.1%
for Direct 8/D8 (63 hours) and 46.4% for Direct Star/D17
(14 hours). TMC (+18.9% to €3.6 million), Direct 8/D8
(+61.0% to €2.5 million) and W9 (+23.2% to €2.2 million)
also increased their support for documentary programs
in 2012 and provided the most financing among
TNT channels, after NRJ12.
07
Pay TV channels
In 2012, the number of documentary orders from pay TV
channels increased 3.3% to 977 hours, including
724 as primary broadcasters (946 hours, including 758
as primary broadcasters in 2011). These channels
provided upwards of €35.7 million in financing for their
programs, which was 8.7% more than in 2011. All pay TV
channels accounted for 24.8% of total hours ordered
by broadcasters in 2012 and 16.0% of investments
by broadcasters (28.4% and 17.3%, respectively, in 2011).
Their rate of coverage as primary broadcasters increased
4.5 points to 42.3% of production budgets.
Canal+ increased its volume of documentaries slightly again
from 95 hours (including 90 as the primary broadcaster)
in 2011 to 104 hours, all as the primary broadcaster,
in 2012. Investments by the channel for documentaries
came to €13.5 million, an increase of 22.0% compared
to 2011. Canal+ financed 56.5% budgets for programs
initiated (56.6% in 2011).
Forty-four specialty channels helped to finance at least
one documentary program in 2012 (47 in 2011). They financed
926 hours, including 620 as primary broadcasters,
totaling €22.2 million (913 hours, including 668 as primary
broadcasters, totaling €21.7 million in 2011).
Planète+ financed 134 hours, including 38 as the primary
broadcaster, with total investments of €2.8 million
(154 hours, including 37 as the primary broadcaster for
€3.6 million in 2011). Voyage invested €2.6 million in 2012
(+49.0% compared to 2011), an almost two-fold increase
in the number hours (115 hours, including 79 as the primary
broadcaster, compared to 67 hours, including 60
as the primary broadcaster, in 2011).
Local channels
In 2012, 43 local broadcasters invested €9.4 million
in the production of 383 documentary hours, including
294 as primary broadcasters. 45 broadcasters had invested
€8.3 million in the production of 353 documentary hours,
including 258 as primary broadcasters in 2011. Local
channels accounted for 10.1% of documentary hours
produced in 2012 (9.7% in 2011). Their rate of coverage
as primary broadcasters fell 0.3 points compared to 2011
to 23.8% of production budgets.
TV Rennes financed 36 hours, including 24 as the primary
broadcaster, with total investments of €0.8 million
(61 hours, including 41 as the primary broadcaster, with
investments of €1.3 million in 2011). Vosges TV invested
€0.7 million (+16.1%), with the number of hours growing
33.2% (36 hours, including 24 as the primary broadcaster,
in 2012, compared to 27 hours, including 20 as primary
broadcaster, in 2011). Wéo doubled its investments in 2012
(€0.7 million), representing an increase of 76.1% in the
number of hours (18 hours, all as primary broadcaster).
Online services
In 2012, twelve online services ordered CNC-supported
documentaries. They financed 26 hours, including 18
as primary broadcasters, for a total of €0.62 million.
In 2011, 4 online services financed 18 hours, all as primary
broadcasters, totaling a third of the amount invested
in 2012 (€0.20 million). Arte was the online broadcaster
that financed the most documentaries, via Arte.fr
(€0.21 million for five hours of programs, all as primary
broadcaster) and Arte Live Web (€0.08 million for 12 hours
of programs, including 7 as primary broadcaster).
broadcasters
allocations2
1
2
hourly
(€ thousand)
(€ thousand)
rate (%)
201120122011201220112012
201120122011201220112012
FTA public channels3 1,1361,290 1,1771,327 116.0143.8
.......................................................................................................................................
FTA private channels 4 . . . . . . . . .494
. . . . . . . . . . . . . . . . . . . . . . . .595
. . . . . . . . . . . . . . . . . . . . . . . .501
. . . . . . . . . . . . . . . . . . . . . . . .60231.933.8
......................................................
FTA public channels2 201.3210.7 99.8109.7 49.5 52.1
.......................................................................................................................................
FTA private channels3 105.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94.5
. . . . . . . . . . . . . . . . . . . . . . . .64.2
. . . . . . . . . . . . . . . . . . . . . . . .56.0
. . . . . . . . . . . . . . . . . . . . . . . .60.9
. . . . . . . . . . . . . . . . . . . . . . . .59.2
.......
FTA DTT private channels5 . . . . . . . . . 284
. . . . . . . . . . . . . . . . . . . . . . . .449
. . . . . . . . . . . . . . . . . . . . . . . .294
. . . . . . . . . . . . . . . . . . . . . . . .46011.319.0
......................................................
FTA DTT private channels4 78.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77.139.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41.649.953.9
.......................................................
total FTA national channels 1,6301,8841,6691,928
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147.9177.6
.................................
total FTA national channels 172.3174.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89.0
. . . . . . . . . . . . . . . . . . . . . . . .92.7
. . . . . . . . . . . . . . . . . . . . . . . .51.6
. . . . . . . . . . . . . . . . . . . . . . . 53.3
........
pay TV channels . . . . . . . . . 758
. . . . . . . . . . . . . . . . . . . . . . . . 724
. . . . . . . . . . . . . . . . . . . . . . . .946
. . . . . . . . . . . . . . . . . . . . . . . .97732.835.7
......................................................
pay TV channels 104.6106.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39.5
. . . . . . . . . . . . . . . . . . . . . . . .45.0
. . . . . . . . . . . . . . . . . . . . . . . .37.8
. . . . . . . . . . . . . . . . . . . . . . . .42.3
.......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.3
. . . . . . . . . . . . . . . . . . . . . . . .9.4
.....
local channels 258294353383
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25.0
. . . . . . . . . . . . . . . . . . . . . . . .25.4
. . . . . . . . . . . . . . . . . . . . . . . .24.1
. . . . . . . . . . . . . . . . . . . . . . . .23.8
.......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.2
. . . . . . . . . . . . . . . . . . . . . . . .0.6
.....
online services 18181826
. . . . . . . . .61.186.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.528.915.533.6
.............................................................................
online services .......................................................................................................................................
total 2,6652,9212,6652,921189.4223.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68.1
. . . . . . . . . . . . . . . . . . . . . . . .73.7
. . . . . . . . . . . . . . . . . . . . . . . 46.8
. . . . . . . . . . . . . . . . . . . . . . . . 49.2
........
total 145.6149.9
F
Hours ordered and investments
in documentaries by broadcasters
3
France Télévisions + Arte + LCP-AN + Public Sénat.
4
5
Direct 25 + Direct 8/D8 + Direct Star/D17 + Gulli + NRJ12 + NT1 + TMC + W9.
F
Cost and hourly investment
in documentaries by broadcasters1
4
1
1
2
2
3
07
G
ANIMATION
Financing of animation
Animation production generally occurs in biennial or triennial
cycles. In 2012, the volume of animation productions
fell 16.0% compared to 2011, to 298 hours. This change
was the result of the drop in order volume by (public and
private) FTA national channels. Between 2003 and 2012,
the annual animation production volume averaged
309 hours. Animation accounted for 5.8% of total
programming hours supported by the CNC in 2012,
In 2012, animation programming budgets fell 16.3%
compared to 2011 to €181.8 million. Hourly animation costs
were stable at €609.2 thousand (-0.4% compared to 2011).
French financing for animations production decreased
10.6% to €139.8 million in 2012 (€156.4 million in 2011).
Support from French producers fell 5.3% to €37.7 million,
or 20.7% of the total budget (18.3% in 2011). Broadcaster
contributions decreased 14.2% to €49.7 million. However,
their share of animation financing increased 0.7 points
to 27.3%. On average, broadcasters contributed
€166.5 thousand per hour of animation in 2012, compared
to €163.0 thousand in 2011 (+2.1%). Pre-sales in France
dropped for the third year in a row (-8.9% to €5.5 million
in 2012). CNC contributions to animation decreased
by 12.6% to €36.8 million. In total, it covered 20.2%
of the budget in 2012 (19.4% in 2011).
Animation was the genre with the most substantial
foreign financing.
Foreign support comprised 23.1% of financing for animation
programs in 2012, compared to 28.0% in 2011. Foreign
financing fell 31.0% to €42.0 million in 2012. Co-production
contributions fell 46.6% to €23.2 million, while pre-sales
abroad rose 8.0% to €18.8 million.
226 hours of animation received foreign financing in 2012
(co-productions and pre-sales), accounting for 75.6%
of total volume produced. The previous year, 76.6%
of the animation produced received foreign financing
(272 hours).
In 2012, 144 hours of French initiative co-productions
were initiated, with total foreign contributions
of €12.6 million (197 hours with foreign contributions
of €26.0 million in 2011). At the same time, 81 hours
of French minority co-productions were produced
in 2012, financed with total foreign contributions
of €29.4 million (75 hours with foreign contributions
of €34.8 million in 2011).
20082009 2010 2011 2012
French financing 108.7149.9138.4156.4139.8
...........................................................................................
French producers 24.931.630.939.8 37.7
...........................................................................................
. . . . . . 6.412.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.5
. . . . . . . . . . . . . . . . . . . . .6.1
. . . . . . . . . . . . . . . . . . .5.5
.....
pre-sales in France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57.949.7
...........................
broadcasters 40.156.050.7
...........................................................................................
SOFICA 2.13.72.95.53.0
. . . . 27.934.829.530.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31.0
.......
CNC . . . . . . 2.5
. . . . . . . . . . . . . . . . . . . . 8.0
. . . . . . . . . . . . . . . . . . . . 9.311.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.8
.....
CNC additional support1 ...........................................................................................
other 4.73.75.75.17.2
...........................................................................................
foreign financing 42.951.442.560.942.0
foreign co-productions 25.7 31.131.343.423.2
...........................................................................................
. . . . .17.220.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.3
. . . . . . . . . . . . . . . . . . . . 17.418.8
...........................
pre-sales abroad ...........................................................................................
total financing 151.6201.3181.0217.3181.8
G
Animation financing (€ million)
1
H
Animation channel investments
In 2012, the volume of animation initiated by the FTA
national channels decreased 39.4% compared to 2011
to 185 hours. Their total investments fell 31.9%
to €33.2 million (€48.7 million in 2011). FTA public channels
helped produced 123 hours of animation programs, all
as primary broadcasters, for €22.2 million in investments
(176 hours, including 167 as primary broadcasters,
for €29.9 million in 2011). Private national free channels
contributed €10.9 million, including 62 hours as primary
broadcasters (€18.8 million for 159 hours, including
138 as primary broadcasters in 2011). FTA national channels
totaled 66.7% of channel investments in the production
of animation in 2012 (84.1% in 2011) and initiated 61.8%
of produced hours (85.8% in 2011).
In 2012, France Télévisions channels supported the
production of 119 hours of animation, all as primary
broadcasters (174 hours, including 165 as primary
broadcasters in 2011). Their total contributions came
to €21.3 million (€28.6 million in 2011). In 2012,
France Télévisions initiated 39.7% of the total hourly
volume for animations produced and contributed 43.0%
of investments across all channels. Its contributions
were mostly divided between France 3 and France 5.
France 3 (excluding France 3 Régions) invested €15.3 million
(€16.7 million in 2011) for a total of 67 hours, all as primary
broadcaster (89 hours, including 80 as primary broadcaster,
in 2011). France 3 covered 31.7% of program budgets
that it initiated (32.8% in 2011).
In 2012, France 5 contributed €5.4 million in 39 hours
of animated programs, all as the primary broadcaster
(€8.4 million for 57 hours in 2011). The channel covered
23.8% of its television programming budget (26.4% in 2011).
France 5 initiated production of eight animation series.
In 2012, contributions from TF1 to animations totaled
€4.8 million (€13.2 million in 2011) for 35 hours of programs,
including 26 as primary broadcaster (88 hours, including
78 as primary broadcaster, in 2011). It covered 21.7%
of its television programming budget (the same as in 2011).
Contributions from M6 to animation came to €3.2 million
in 2012 (€2.2 million in 2011). The channel financed 31 hours
of programming including 20 as the primary broadcaster
(18 hours, all as the primary broadcaster, in 2011).
The channel covered 22.0% of its television programming
budget (21.1% in 2011).
Gulli was the only FTA DTT channel to invest in animation.
In 2012, it invested €2.9 million into 47 hours of programs,
including 16 as primary broadcaster (€3.4 million for
62 hours of programs, including 42 as primary broadcaster,
in 2011). It helped finance two series as primary
broadcaster, two series as secondary broadcaster and
one series as tertiary broadcaster. As primary broadcaster,
Gulli covered 9.4% of its television programming budget
(12.4% in 2011).
Pay TV channels
In 2012, total investments by pay TV channels (Canal+
and specialty channels) in CNC-supported animation
production reached 16.1% (€9.1 million in 2011).
They helped finance 106 hours of programming,
including 107 hours as primary broadcasters (197 hours,
including 48 hours as primary broadcasters in 2011).
On average, pay channels covered 17.1% of budgets for
animation programs that it initiated in 2012 (12.0% in 2011).
Pay TV channels totaled 32.3% of broadcaster investments
in the production of animation in 2012 (15.6% in 2011)
and initiated 35.8% of hours (13.4% in 2011).
In 2012, Canal+ supported the production of 74 hours
of animated programs, including 58 hours as the primary
broadcaster with total contributions of €8.1 million
(52 hours including 41 as the primary broadcaster and
€3.4 million in 2011).
Eight specialty channels broadcast on pay cable, Internet
TV, satellite or DTT channels helped finance animation
programming in 2012 (nine in 2011). In 2012, specialty
channels helped finance 163 hours of animation (160 hours
in 2011) including 49 hours as primary broadcasters (7 hours
in 2011). Their total contribution reached €7.9 million
in (€5.6 million in 2011) and represented 15.9% of all
broadcaster contributions for the genre (9.7% in 2011).
Five channels participated as primary broadcasters for
a total of €2.9 million, five channels as secondary
broadcasters for €4.5 million and three channels as tertiary
broadcasters for €0.6 million.
Disney Channel’s contribution totaled €3.8 million in 2012
(€1.3 million in 2011) for 62 hours of programs, including 22
as primary broadcaster (32 hours as secondary broadcaster
in 2011). Canal J invested €2.0 million (€2.5 million
in 2011) for 66 hours of animation, including 10 as primary
broadcaster (65 hours, including 5 as primary broadcaster,
in 2011). AB1 contributed €0.8 million for 17 hours
as secondary or tertiary broadcaster.
Local channels
In 2012, local channels invested €0.22 million
in CNC-supported animation programming (+32.4%
compared to 2011). Eight channels (seven channels in 2011)
supported the production of 6 hours of programming,
including 4 as primary broadcasters (3 hours, all as primary
broadcasters in 2011). They accounted for 0.4% of all
broadcaster investments in the genre in 2012 (0.3% in 2011).
Online services
In 2012, online services contributed €0.24 million
to the production of 7 hours of animation, including 3
as primary broadcasters. Their contribution covered
0.5% of total contributions from broadcasters for
the production of animation programs.
07
broadcasters
allocations2
1
2
hourly
(€ thousand)
(€ thousand)
rate (%)
201120122011201220112012
201120122011201220112012
FTA public channels3 16712317612329.922.2
.......................................................................................................................................
FTA private channels 4 138
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62159103
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.8
. . . . . . . . . . . . . . . . . . . . . . . .10.9
.......
FTA public channels2 594.7650.1166.5181.2 28.0 27.9
.......................................................................................................................................
FTA private channels3 666.7694.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128.6
. . . . . . . . . . . . . . . . . . . . . . . .129.7
. . . . . . . . . . . . . . . . . . . . . . . . . .19.3
. . . . . . . . . . . . . . . . . . . . . . . .18.7
.......
FTA DTT private channels5 . . . . . . . . . . . .42
. . . . . . . . . . . . . . . . . . . . . . . .16
. . . . . . . . . . . . . . . . . . . . . . . .62
. . . . . . . . . . . . . . . . . . . . . . . .473.42.9
...................................................
FTA DTT private channels4 544.9702.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67.3
. . . . . . . . . . . . . . . . . . . . . . . .66.0
. . . . . . . . . . . . . . . . . . . . . . . .12.4
. . . . . . . . . . . . . . . . . . . . . . . . . .9.4
.....
total FTA national channels . . . . . . . . .305
. . . . . . . . . . . . . . . . . . . . . . . . 185
. . . . . . . . . . . . . . . . . . . . . . . .324
. . . . . . . . . . . . . . . . . . . . . . . . 21648.733.2
......................................................
total FTA national channels . . . . . .627.3664.9149.4163.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23.8
. . . . . . . . . . . . . . . . . . . . . . . 24.7
........
pay TV channels . . . . . . . . . . . .48
. . . . . . . . . . . . . . . . . . . . . 107
. . . . . . . . . . . . . . . . . . . . . . . . 197
. . . . . . . . . . . . . . . . . . . . . . . .206
. . . . . . . . . . . . . . . . . . . . . . . . . 9.116.1
.............................
pay TV channels 539.5536.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64.9
. . . . . . . . . . . . . . . . . . . . . . . .92.0
. . . . . . . . . . . . . . . . . . . . . . . .12.0
. . . . . . . . . . . . . . . . . . . . . . . . .17.1
......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.2
. . . . . . . . . . . . . . . . . . . . . . . .0.2
.....
local channels 3436
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.6
. . . . . . . . . . . . . . . . . . . . . . . .25.1
. . . . . . . . . . . . . . . . . . . . . . . . 17.3
. . . . . . . . . . . . . . . . . . . . . . . .10.5
.......
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.2
.....
online services -3-7-
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262.8-
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78.6-
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29.9
.......
online services -
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57.9
. . . . . . . . . . . . . . . . . . . . . . . .49.7
.......
total 355298355298
. . . . . .611.8609.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137.1135.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22.4
. . . . . . . . . . . . . . . . . . . . . . . . 22.2
........
total H
H
Hours ordered and investments
in documentaries by broadcasters
3
4
5
Gulli only.
Cost and hourly investment
in animation by broadcasters1
4
Gulli only.
1
1
2
2
3
I
LIVE SHOWS
Financing of live shows
In 2012, the number of supported hours of recording and
broadcasting increased 12.2% to 697 hours, its highest
level ever. Most of this growth is explained by the increase
in production orders by online services and, to a lesser
extent, by local channels. Budgets for live show works fell
0.6% compared to 2011, reaching €91.8 million, representing
an 11.4% lower average hourly cost of €131.7 thousand.
Live shows accounted for 13.5% of total hours supported
in 2012 (+0.7 compared to 2010) and accounted for 12.0%
of contributions by the CNC (+0.7 points).
In 2012, broadcaster support in the production of recording
and broadcasting live shows decreased by 1.3%
to €32.5 million. Their hourly contribution fell 12.1%
to €46.6 thousand. Broadcasters covered 35.4%
of production budgets for the genre (35.6% in 2011).
Contributions by French producers decreased 12.2%
in 2012 (€23.5 million). Their share in production budgets
decreased 3.4 points to 25.6%.
Subsidies provided by the CNC (including additional
support) increased 8.5% to €26.4 million in 2012
and covered 28.8% of budgets in the genre, representing
a 3.3% decrease in hourly contribution, with an average
of €37.9 thousand.
In 2012, foreign contributions increased by 11.0%
to €6.6 million. Their share of the total budget increased
to 7.2% of total live show financing (6.5% in 2011).
Co-production contributions grew 5.2% to €5.4 million.
They were mainly financed by foreign producers
of the shows and by theaters scheduling shows abroad.
Pre-sales abroad grew 43.7% to €1.3 million. In all,
124 hours of live shows received foreign financing in 2012
(110 hours in 2011), including 110 hours of majority
co-productions (94 hours in 2011) and 14 hours of minority
co-productions (16 hours in 2011).
20082009 2010 2011 2012
. . . . .57.171.378.386.485.2
......................................................................................
French financing French producers 16.423.424.526.723.5
...........................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.1
....
pre-sales in France 0.90.80.81.2
...........................................................................................
broadcasters 21.225.027.332.932.5
. . . . . . . . . . .-0.10.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -0.0
.....................
SOFICA ...........................................................................................
CNC 15.919.822.224.226.3
...........................................................................................
...........................................................................................
other 2.62.22.91.21.7
...........................................................................................
foreign financing 3.74.56.36.06.6
...........................................................................................
foreign co-productions 2.22.45.05.15.4
...........................................................................................
pre-sales abroad 1.52.11.30.91.3
...........................................................................................
total financing 60.975.784.592.491.8
I
Live show financing (€ million)
1
J
Channel investments in live shows
In 2012, FTA national channels posted an increased
in their volume of orders for recording and broadcasting
of live shows (+2.8% to 332 hours). Their investments
in the genre dropped to €20.9 million (-11.1%).
Most investments made by free national channels into
live shows were made by public channels (90.6% of total
investments and 84.4% of total hours initiated by free
channels). In 2012, FTA public channels invested €19.0 million
(-10.3% compared to 2011) into producing 326 hours
of recording and broadcasting of live shows (-6.9%),
including 280 hours as primary broadcasters (-4.4%).
Thus, they accounted for more than half (58.4%) of total
broadcaster contributions to this genre and initiated 40.2%
of supported hours (64.3% and 47.2%, respectively, in 2011).
The number of live show hours financed by Arte decreased
8.3% to 74 hours 2012, including 70 hours as the primary
broadcaster (+9.4%). The channel maintained its financial
contributions at €4.2 million (-0.2%), covering 13.0%
of total investments made by all channels into the genre
(12.9% in 2011). The amount contributed by channels
as primary broadcasters fell 1.2%, while the volume
of hours initiated increased.
France Télévisions’s live show order volume decreased
in 2012 to 259 hours, including 211 hours as the primary
broadcaster (11.8% and 8.2% less, respectively, than
in 2011). The group’s financial contributions to the genre
decreased 12.8% to €14.8 million.
In 2012, France 2 decreased in live show order volume with
63 hours, including 48 hours as the primary broadcaster
(42.5% and 37.3% less, respectively, than in 2011).
The channel’s financial contribution decreased by 29.7%,
to reach €6.9 million.
07
France 3 (including France 3 Régions) increased its
contribution to live shows in 2012. Thus, the channel
contributed €5.4 million to the production of 100 hours
of live shows, including 74 as the primary broadcaster
(101 hours, including 72 as the primary broadcaster, in 2011).
France 4 contributed €654.5 thousand (+13.8%) to financing
17 hours of programming (+17.5%), all as the primary
broadcaster.
FTA private channels greatly increased their volume of live
shows financed in 2012 to 68 hours (42 hours in 2011),
with financial contributions of €2.0 million (a decrease
of 17.9%). They initiated 52 hours as primary broadcaster,
compared to 30 hours in 2011.
TF1 slightly decreased its investments in live shows
in 2012. The channel invested €0.16 million in 7 hours
of programming, including 5 as the primary broadcaster
(€1.86 million for 14 hours, including 8 as the primary
broadcaster, in 2011). The channel financed three operas,
including two as primary broadcaster.
M6 ordered 2 hours of programming as the primary
broadcaster and invested €320.0 thousand in 2012
(€27.0 thousand in 2011).
Private free TNT channels (excluding traditional channels)
financed 61 hours of live shows, including 45 hours
as primary broadcasters in 2012 (21 hours, including
16 hours as primary broadcasters in 2011). They tripled
their total contributions to €1.5 million. In particular,
Direct Star/D17 invested €710.2 thousand in 31 hours
of live shows, including 26 as primary broadcaster
(€303.0 thousand for 10 hours, all as primary broadcaster,
in 2011).
Pay TV channels
In 2012, fourteen pay channels (Canal+ included) invested
in recording and broadcasting of live shows, twice
as much than in 2010. Their total contributions came
to €3.3 million (-8.4% compared to 2011) and financed
255 hours of programming (276 hours in 2011). The volume
initiated dipped slightly to 144 hours in 2012, compared
to 149 hours in 2011. The portion of financing by pay
channels for live shows by broadcasters fell: they initiated
20.7% of the total volume of orders and contributed
10.1% of total financing from broadcasters into the genre
(23.9% and 10.9%, respectively, in 2011).
Mezzo was the most active channel in live shows in 2012,
despite a drop in volume of programs initiated. It invested
€2.0 million in 183 hours, including 97 as the primary
broadcaster (€1.8 million in 199 hours, including
102 as the primary broadcaster, in 2011). Paris Première
financed the genre with a 42.7% increase in contributions
to €0.6 million for 24 hours of live shows, including 21
as the primary broadcaster (19 hours of live show,
including 17 as the primary broadcaster, in 2011). These
were mostly recordings of plays.
Local channels
Twenty-eight local channels invested in live shows
in 2012 (27 in 2011). Twenty of them invested as primary
broadcasters, with the rest as secondary or tertiary
broadcasters only. In 2012, local channels invested
€5.9 million in 292 hours of programming, including 92
as primary broadcasters (€4.4 million toward 210 hours,
including 78 as primary broadcasters, in 2011).
Online services
The eight Internet TV channels that produced live shows
invested a total of €2.3 million in 224 hours, including
129 as the primary broadcaster (€1.3 million in 143 hours,
including 70 as the primary broadcaster, in 2011).
Internet TV Channels initiated 18.5% of total hourly
volume for live shows supported in 2011 (11.3% in 2010)
and provided 7.1% of total broadcaster investments
in the genre (3.8% in 2011). The CNC gave 14.3% of its live
show support to programs initiated by online services
(8.2% in 2011).
Arte Live Web was the Internet TV channel that ordered
the most hours of live shows: It financed 109 hours,
including 51 as primary broadcaster, in 2012.
However, in terms of investments, the most dynamic
service was Classicall.tv, with total contributions
of €755.5 thousand into 61 hours, including 37 as primary
broadcaster (€103.8 thousand into 5 hours, including 2
as primary broadcaster, in 2011).
Primary sources of funding for supported television
production in 2012
2011 collected funds from financing made in 2012 and January 2013
(cinema and television). SOFICAs must invest 90% of their collected funds
into film or television production.
2
Estimated Budget of Aid in the Agrements concluded between the CNC
and the local authorities in 2012.
3
Total CNC support: production aid + development aid,
including additional support and subsidies under “Web COSIP”.
4
Retail and rental of physical video media.
5
Estimated 100% VoD sales, all taxes included.
6
Sales tax asseted to television publishes and distributors.
7
Tax on final turnover on video and VoD, all genres included.
AUDIENCE
1
€251.6 million5
€1,121.1 million4
consumption
VoD Platforms
contribution
to public audiovisual
€2,396.5 million
video retail
sponsors
subscriptions
television services
distributors
Sources:
Television works aided by the CNC
(fiction, documentaries, animation, live shows, cultural magazines).
Gross Advertising investments in France in 2012 – IREP.
Effective Receipts of the CNC in 2012.
CNC-GfK video barometer.
GfK-NPA Conseil VoD barometer.
GfK – SEVN.
FTA public
channels
advertising
€3,337.0 million
subscriptions
FTA private
channels
pay TV channels
(Canal+ and
specialty channels
€63.1 million1
local channels
Video tax / VoD7
31.0 million
TTS tax
€524.5 million6
€462.3 million
support
€233.8 million3
online services
€219.3 million
€16.4 million
€4.4 million
SUPPORTED AUDIOVISUAL PRODUCTION
€21.7 million2
€6.9 million
€95.1 million
regional funds
€115.4 million
foreign
support
€3.6 million
SOFICA
Farewell, My Queen by Benoît Jacquot. © Carole Bethuel / Ad Vitam.
Love by Michael Haneke. © Les Films du Losange.
Holy Motors by Léos Carax. © Les Films du Losange.
Camille Rewinds by Noémie Lovsky. © Arnaud Borrel / F Comme Film – Ciné @ / Gaumont Distribution.
Granny’s Funeral by Bruno Podalydès.
© Anne-Françoise Brillot / Why Not Productions / UCG Distribution.
Ernest & Celestine by Benjamin Renner, Vincent Patar and Stéphane Aubier. © Studio Canal Distribution.
Louise Wimmer by Cyril Mennegun. © Haut et Court.
08
08
Distribution
la distribution
In 2012, 615 films were distributed as first-run releases (3.4% more than in 2011),
Ennumber
2009, 588
sontThis
distribués
enwas
première
soitand
5,9 %
de plus qu’enfilms
2008.(+12 films)
the highest
in afilms
decade.
increase
due toexclusivité,
non-European
non-American
Cette
est notamment
imputable
aux films
français
(+28 films).
and tohausse
American
films (+10 films).
Exhibition
of new
films decreased,
with an average 134 theaters per film on opening-week (143 theaters per film in 2011).
The Invisibles by Sébastien Lifshitz. © Ad Vitam.
A Few Hours of Spring by Stéphane Brizé. © Michael Crotto / TS Productions.
Tabou by Miguel Gomes. © Shellac Distribution.
08
Distribution
Methodology
All feature-length motion pictures recently released
in theaters in France were included. Specifically
considered as “new” were any films commercially
released nationwide and any commercial film screened
during one-time events, such as festivals or
retrospective tributes. The genres appearing in this
chapter were drawn from information used in other
publications.
A
In 2012, the proportion of American films in the total
number of first-run releases was 24.4% (23.7% in 2011).
After reaching a particularly low level in 2011, the number
of American films released in theaters increased in 2012
to 150 films (+9 films).
TYPOLOGY OF NEW FILMS
In 2012, there were 615 first-run releases in France,
21 more films than in 2011. The year 2012 saw the highest
levels in a decade.
The number of French films increased by 3, also reaching
their highest levels in the last ten years (296 films).
Among French films, French majority co-productions
increased by 6 (62 films in 2012, compared to 56 films in
2011) while foreign majority co-productions decreased
to 54 films in 2012 (56 films in 2011). The number of 100%
French films stabilized at 180 films. 48.1% of first-run
releases were French in 2012. This number has been
rising steadily since 2003 (42.6%). On average, 44.9% of
films shown for the first time in France between 2003
and 2012 were French.
The number of new, non-French European films kept
dropping (-4 titles to 101 films) but remained high.
This decrease particularly reflects a lower number
of German (-6 films), Italian (-4) and Spanish (-3) films
shown in France.
At 68, the number of films from other countries grew
significantly (+12 films), notably due to the increase in the
number of Canadian (+7 films), Indian (+5) and Japanese
(+5) films.
In 2012, 43 different nationalities were represented
among new films (42 in 2011).
2012
2003200420052006200720082009 2010 2011 22012 (%)
French American European other
films filmsfilms1filmstotal
France majority 1 51
73
52
55
38
43
64
50
56
6210.1
.......................................................................................................................................................................
. . . . . . . . . . . . . .217
. . . . . . . . . . . . . . . . . . . . . . . . . 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .7661
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .509
.......
2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5654
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.8
.....
France minority 1 3431434553425057
. . . . . . . . . . . . . 238
. . . . . . . . . . . . . . . . . . . . . . . . . . 169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .8171
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .559
.......
2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.5
.....
Great-Britain 2827353330253434
. . . . . . . . . . . . . 236
. . . . . . . . . . . . . . . . . . . . . . . . . . 152
. . . . . . . . . . . . . . . . . . . . . . . . . .10458
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550
.......
2005 . . . . . .9151012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9131018
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1411
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.8
.....
Spain . . . . . . . . . . . . . 242
. . . . . . . . . . . . . . . . . . . . . . . . . . 176
. . . . . . . . . . . . . . . . . . . . . . . . . . 10368
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .589
.......
2006 . . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . .16
. . . . . . . . . . . . . . . .12
. . . . . . . . . . . . . . . .13
. . . . . . . . . . . . . . . .169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13159
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.5
.....
Germany 8
. . . . . . . . . . . . . 262
. . . . . . . . . . . . . . . . . . . . . . . . . . 175
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .7858
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .573
.......
2007 . . . .109
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1363
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14117
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1
.....
Italy . . . . . . . . . . . . . 240
. . . . . . . . . . . . . . . . . . . . . . . . . . 156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 9861
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .555
.......
2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .713
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
. . . . . . . . . . . . . . . . . .611
. . . . . . . . . . . . . . . . . . . . . . . . . .1.8
.....
Japan 1316171510
. . . . . . . . . . . . . 268
. . . . . . . . . . . . . . . . . . . . . . . . . . 163
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .9760
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588
.......
2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
. . . . . . . . . . . . . . . . . . . . . . . . . .1.5
.....
Canada 44466443
. . . . . . . . . . . . . 273
. . . . . . . . . . . . . . . . . . . . . . . . . . 144
. . . . . . . . . . . . . . . . . . . . . . . . . . 12141
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .579
.......
2010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127852
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
. . . . . . . . . . . . . . . . . . . . . . . . . .0.7
.....
China 584
. . . . . . . . . . . . . 292
. . . . . . . . . . . . . . . . . . . . . . . . . . .141
. . . . . . . . . . . . . . . . . . . . . . . . . 10556
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .594
.......
2011 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7884
. . . . . . . . . . . . . . . . . . . . . . . . . . .13.7
.......
other countries 6062637558757571
. . . . . . . . . . . . . 296
. . . . . . . . . . . . . . . . . . . . . . . . . . 150
. . . . . . . . . . . . . . . . . . . . . . . . . . 10168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .615
.......
2012 A
USA . 155
. . . . . . . . . . . . . . . . 169
. . . . . . . . . . . . . . . . 152
. . . . . . . . . . . . . . . . 176
. . . . . . . . . . . . . . . . 175
. . . . . . . . . . . . . . . . 156
. . . . . . . . . . . . . . . .163
. . . . . . . . . . . . . . . .144
. . . . . . . . . . . . . . . . . . 141
. . . . . . . . . . . . . . . .15024.4
....................
. . . . . . . . . . . . . . . . 134
. . . . . . . . . . . . . . . . .141
. . . . . . . . . . . . . . . 142
. . . . . . . . . . . . . . . . 171
. . . . . . . . . . . . . . . . 155
. . . . . . . . . . . . . . . .154
. . . . . . . . . . . . . . . .166
. . . . . . . . . . . . . . . . . .180
. . . . . . . . . . . . . . . .18029.3
....................
100% France 1 . 132
Number of first-run releases
2
The 2011 data have been updated.
1
total A
509
559
550
589
573
555
588
579
594
615100.0
.......................................................................................................................................................................
Nationality of first-run releases
1
2
Films funded fully by, or with majority or minority participation from, French associates.
B
More than 30% of new films were dramas
In 2012, 203 dramas (including 98 French and
23 American films) were distributed for the first time
in France. Comedies made up 16.3% of new films in
theaters, or 100 films (65 French films and 28 American
films). These two genres alone accounted for 49.3% of
first-run releases.
There were 92 first-run documentaries in 2012, compared
to 90 in 2011 and 76 in 2010. The genre ranked third in
number of films. 64 were French documentaries,
13 were non-French European, 11 were American,
one was Chilean (The Band That Met the Sound Beneath),
one Peruvian (Lucanamarca), one Chinese (Fengming,
Chronicle of a Chinese Woman) and the last one Japanese
(Genpin).
31 animated films were shown for the first time
on French screens in 2012, 3 fewer films than in 2011.
French animation was dynamic with 9 films distributed,
including Sammy’s Great Escape, Kirikou and the Men and
Women and Ernest & Célestine. Nine American animations
were released, including Ice Age: Continental Drift,
Brave and Madagascar 3: Europe’s Most Wanted.
Eight animations were non-French European, three were
Japanese, one was Singaporean (Tatsumi) and
the last one was South Korean (Madangeul Naon Amtak).
Walt Disney Pictures France was the top distributor of
new animations in 2012 with four films. StudioCanal and
Gebeka Films distributed three new animations each.
C
More than 60% of new films were Art House recommended
62.9% of first-run releases were Art House recommended,
41 more than in 2011. The number of recommended films
was high at 387 works, the highest level of the decade.
In 2012, 70.2% of new French films were Art House
recommended (64.4% in 2011), compared to 28.5%
of new American films (21.3% in 2011), 78.0% of new
non-French European films (73.3% in 2011) and 85.3%
of new films from other countries (91.1% in 2011).
Classification of films
Each year, over 85% of new releases are rated as suitable
for all audiences. In 2012, this was true for 557 films (90.6%)
of which 285 films were French (96.3% of all French films)
and 123 films were American (82.1% all American films).
52 films were rated 12 years and older and five were
rated 16 and older, including two French films and
no American films. One documentary film was rated
18 and older in 2012 (There Is No Sexual Rapport).
2003200420052006200720082009 20102011 12012
........................................................................................................................................................
animation 22232230242235243431
........................................................................................................................................................
adventure 35383938233620263814
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
. . . . . . . . . . . . . . 116127132123100
.......................................................................
comedy . .118133134128
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
. . . . . . . . . . . . . . . . . .70
. . . . . . . . . . . . . . . 86105
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110104
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
.....
comedy-drama . .111124122
........................................................................................................................................................
documentary 42775752675871769092
. . . . . . . . . . . . . . . .96102136172138139129141203
....................................................................................................................................
drama . . . .88
........................................................................................................................................................
fantasy 34272735353440322839
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . .12793745
....................................................................................................
musical 66
........................................................................................................................................................
crime/mystery 45323038664840412962
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1588235
....................................................................................
other 8373
........................................................................................................................................................
total 509559550589573555588579594615
B
First-run releases by genre
1
French American European other
films filmsfilms 1filmstotal
% all
films
2003 . . . . . . . . . . . . . 155
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
. . . . . . . . . . . . . . . . . . . . . . . . . . 5854
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30159.1
..........................
. . . . . . . . . . . . . 168
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
. . . . . . . . . . . . . . . . . . . . . . . . . 6068
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34561.7
..........................
2004 . . . . . . . . . . . . . 158
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
. . . . . . . . . . . . . . . . . . . . . . . . . 7947
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33160.2
..........................
2005 . . . . . . . . . . . . . 160
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
. . . . . . . . . . . . . . . . . . . . . . . . . . 6858
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33256.4
..........................
2006 . . . . . . . . . . . . . 173
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
. . . . . . . . . . . . . . . . . . . . . . . . . 5452
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31555.0
..........................
2007 . . . . . . . . . . . . . 144
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
. . . . . . . . . . . . . . . . . . . . . . . . . .7047
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30254.4
..........................
2008 . . . . . . . . . . . . . 190
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
. . . . . . . . . . . . . . . . . . . . . . . . . .7051
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35860.9
..........................
2009 . . . . . . . . . . . . . 188
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
. . . . . . . . . . . . . . . . . . . . . . . . . 8837
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34259.1
..........................
2010 . . . . . . . . . . . . . 188
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
. . . . . . . . . . . . . . . . . . . . . . . . . 7751
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34658.2
..........................
2011 . . . . . . . . . . . . . 208
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
. . . . . . . . . . . . . . . . . . . . . . . . . . .7858
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38762.9
..........................
2012 C
First-run Art House films 2
1
2
The data on Art House films has been updated.
08
Distribution
D
EXHIBITION OF NEW FILMS
Decrease in number of films distributed in 200 to
500 theaters on opening-week
In 2012, 44 films were distributed in more than 500 theaters
during the first week they were released (38 films in 2011)
including 25 American films, 15 French films, three British
films (The Pirates! Band of Misfits, Sherlock Holmes:
A Game of Shadows and Shyfall) and one New Zealand
film (The Hobbit: An Unexpected Journey). They accounted
for 34.5% of first week exhibition. Among these films,
seven were released in more than 800 cinemas on
opening-week including: Would I Lie To You 3 (French
film), My Way (French film) and Ice Age: Continental Drift
(American film). There were five in 2011 and four in 2010.
In 2012, 24.9% of films were available in more than 200
theaters on opening-week (153 films) and 35.4% in more
than 100 theaters (218 films). The number of films shown
in 200 to 499 cinemas on opening-week decreased
significantly with 109 films in 2012, compared to 133 in
2011. 160 films had limited releases (fewer than 10
cinemas), compared to 134 in 2011. In 2012, 80 French
films (74 in 2011) and 15 American films (9 in 2011)
were billed in less than 10 theaters on opening-week.
The proportion of films with releases limited to fewer
than 10 theaters increased in 2012 to 26.0%, compared
to 22.5% in 2011 and 20.2% in 2010. This share was of
27.0% for French films in 2012 (+1.7 percentage point
compared to 2011) and of 10.0% for American film
(+3.6 percentage point compared to 2011).
Two thirds of documentaries were distributed
in fewer than 10 theaters on opening-week in 2012.
They represented 39.4% of films distributed in less than
10 cinemas. In contrast, 58.1% of animations shown
for the first time on screens in 2012 were shown in
200 theaters or more. They represented 11.8% of films
released in 200 theaters or more.
138 Art House recommended films were released in
fewer than 10 cinemas in 2012 (35.7% of Art House films)
including 73 French films (35.1% of Art House French
films) and 10 American films (23.3% of Art House
American films). These 138 films represented 86.3% of
films shown in fewer than 10 theaters on opening-week
(91.3% for French films released in fewer than 10
theaters and 66.7% for American films).
Seven Art House films were released in more than 400
cinemas on opening-week (6 in 2011 and 9 in 2010) and
32 in more than 200 cinemas (30 in 2011 and 29 in 2010).
2003200420052006200720082009 2010 2011 2012
........................................................................................................................................................
less than 5 theaters 84999192826674617787
........................................................................................................................................................
5-9 theaters 51696260454662565673
........................................................................................................................................................
10 to 19 theaters 39456362665278666772
. . . . . . . . . . . . . . . .91
. . . . . . . . . . . . . . . .77
. . . . . . . . . . . . . . . .82
. . . . . . . . . . . . . . . 90100
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86106101
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
.....
20 to 49 theaters . . . .79
........................................................................................................................................................
50 to 99 theaters 55514771586457755369
........................................................................................................................................................
100 to 199 theaters 65696369858467656965
. . . . . . . . . . . . . . . . . . . .89103
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
. . . . . . . . . . . . . . . .110100125106133109
......................................................................................
200 to 499 theaters 100
........................................................................................................................................................
500 to 799 theaters 33423831313533403337
........................................................................................................................................................
800 theaters or more 3468686457
........................................................................................................................................................
total 509559550589573555588579594615
D
First-run releases by number of opening-week theaters 1
1
Establishments showing new films during the first week of their release.
E
Average of 134 theaters per film on opening-week
In 2012, the average number of opening-week theaters
per film was decreasing and reached its lowest level of
the decade. On average, new films were distributed in
134 theaters on opening-week, compared to 143 in 2011.
On average, French films were distributed in 125 theaters
(126 in 2011) and American films in 234 cinemas (29 fewer
cinemas than in 2011). The average number of theaters
on opening-week per film for non-French European films
dropped significantly in 2012 to 69 establishments,
compared to 84 in 2011. Non-European, non-American
films were released in an average of 46 cinemas (36 in
2011). This increase is the result of eight films from other
countries distributed in more than 100 cinemas in 2012.
Four films were in this position in 2011.
2003200420052006200720082009 2010 2011 2012
total 144140142140142146142141143134
........................................................................................................................................................
origin ........................................................................................................................................................
French films 121135131141131144135119126125
........................................................................................................................................................
American films 252222235220211232227252267234
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1097975
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1008469
.......................................
European films 2 61768970
........................................................................................................................................................
other films 58343538293951233646
Animated films were shown in, on average, the most
exhibitions on opening-week (386 theaters in 2012).
Animation and fantasy films also had significant
releases: 331 cinemas (370 in 2011) and 277 cinemas
(317 in 2011) on average, respectively. In contrast,
documentaries, dramas and comedy-dramas were
generally released in fewer theaters.
Upon release, Art House films were distributed in, on
average, a number of theaters four times smaller than
non-recommended films. An Art House film was shown
in 57 cinemas in 2012 (58 in 2011), compared to 264 for
non-recommended films (261 in 2011).
In 2012, 207 French Art House films were distributed in
an average of 62 theaters on opening-week (64 theaters
for 187 films in 2011), compared to 81 theaters for 43 Art
House American films (105 theaters for 30 films in 2011).
Art House Art House films 60536762505465625857
........................................................................................................................................................
non recommended films 266280255241254255262256261264
........................................................................................................................................................
genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311400370331
.......................................................
animation 234269342366341342
........................................................................................................................................................
adventure 317348327316422385299351330386
........................................................................................................................................................
comedy 221183200188188201213185192228
........................................................................................................................................................
comedy-drama 66855475949476769299
. . . . . .8351525303126291614
..................................................................................................................................................
documentary ........................................................................................................................................................
drama 47547377785665807167
........................................................................................................................................................
fantasy 257271344171228211293306317277
. 208898998
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
. . . . . . . . . . . . . . . . 166
. . . . . . . . . . . . . . . .237
. . . . . . . . . . . . . . . .155
. . . . . . . . . . . . . . . .129
. . . . . . . . . . . . . . . .135
.......
musical ........................................................................................................................................................
crime/mystery 191232155193178191163168172169
E
Average number of opening-week theaters per film 1
1
2
Establishments showing new films during the first week of their release.
08
Distribution
F
More than 90% of films were available in 2K digital
In 2012, 565 films were broadcast in part or in whole in 2K
digital (461 in 2011 and 183 in 2010), representing 91.9%
of first-run releases (77.5% in 2011 and 31.6% in 2010).
This proportion reached 92.9% for French films and
97.3% for American films.
33 3D films
In 2012, 33 new digital 3D films were released (43 films in
2011). 24 were American films, 6 were French, 2 were
non-French European and one was from New Zealand
(The Hobbit: An Unexpected Journey). 17 3D films were
released in 500 or more establishments in the first week
(as in 2011) and one in fewer than 100 establishments
(4 in 2011), My Soul to Take (American horror film).
Among the 33 films released in 3D in 2012, 14 were
animated films (18 in 2011), comprising 42.4% of 3D films
(41.9% in 2011).
film
origin 1distributor
release
Abraham
. . . . . . . . . . . . . . . . . . . Lincoln:
. . . . . . . . . . . . . . . . .Vampire
. . . . . . . . . . . . . . . . . Hunter
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20th
. . . . . . . . . . Century
. . . . . . . . . . . . . . . . . Fox
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. . . .Aug
. . . . . . . .’12
.....
. . . . . . . Age:
. . . . . . . . . .Continental
. . . . . . . . . . . . . . . . . . . . . . . .Drift
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20th
. . . . . . . . . . Century
. . . . . . . . . . . . . . . . . Fox
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
. . . . . .June
. . . . . . . . . .’12
.....
Ice
...............&
. . . . Obélix:
. . . . . . . . . . . . . . .God
. . . . . . . . .Save
. . . . . . . . . . Britannia
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR
....../
. . .HU
. . . . . . ./
. . .ES
. . . . . ./
. . .IT
. . . . . . . . . . . .Wild
. . . . . . . . . .Bunch
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
. . . . .Oct
. . . . . . . .’12
.....
Astérix
. . . . . . . . .Avengers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Walt
. . . . . . . . . .Disney
. . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . 25
. . . . . .Apr
. . . . . . . .’12
.....
The
. . . . . . . . .Cabin
. . . . . . . . . . . .in
. . . . the
. . . . . . . .Woods
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Metropolitan
. . . . . . . . . . . . . . . . . . . . . . . . . . . Film
. . . . . . . . . . Export
..................................2
. . . .May
. . . . . . . . .’12
.....
The
. . . . . . . . . . . . . . . . . . . . . .3D
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR
....../
. . .BE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bac
. . . . . . . . .Films
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
. . . . . .July
. . . . . . . . .’12
.....
Cinderella
. . . . . . . . . .of
. . . . .the
. . . . . . . Guardians
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paramount
. . . . . . . . . . . . . . . . . . . . . . . Pictures
. . . . . . . . . . . . . . . . . . France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
. . . . . Nov
. . . . . . . . .’12
.....
Rise
. . . . . . . . . . . . . . .of
. . . . the
. . . . . . . .Wings
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Walt
. . . . . . . . . .Disney
. . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . .Oct
. . . . . . . .’12
.....
Secret
. . . . . . . . . . . . . of
. . . . . the
. . . . . . . .Titans
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Warner
. . . . . . . . . . . . . . . Bros
. . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
. . . . . Mar
. . . . . . . . .’12
.....
Wrath
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Universal
. . . . . . . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .International
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
. . . . . .Aug
. . . . . . . .’12
.....
ParaNorman
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Walt
. . . . . . . . . .Disney
. . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . 31
. . . . . .Oct
. . . . . . . .’12
.....
Frankenweenie
. . . . . . . . . . . . .Rider:
. . . . . . . . . . . . .Spirit
. . . . . . . . . . . .of
. . . . .Vengeance
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SND
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
. . . . . .Feb
. . . . . . . .’12
.....
Ghost
. . . . . . . . .Hobbit:
. . . . . . . . . . . . . . . An
. . . . . . Unnexpected
. . . . . . . . . . . . . . . . . . . . . . . . . . . Journey
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NZ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Warner
. . . . . . . . . . . . . . . Bros
. . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
. . . . . Dec
. . . . . . . . .’12
.....
The
. . . . . . . . . . .Carter
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Walt
. . . . . . . . . .Disney
. . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
. . . Mar
. . . . . . . . .’12
.....
John
. . . . . . . . . . . . . . . and
. . . . . . . . .the
. . . . . . . Men
. . . . . . . . . .and
. . . . . . . .Women
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .StudioCanal
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
. . .Oct
. . . . . . . .’12
.....
Kirikou
. . . . . . . . .Lorax
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Universal
. . . . . . . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .International
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
. . . . . .Aug
. . . . . . . .’12
.....
The
. . . . . . . . . . . . . . . . . . . . . . . . . . 3:
. . . . .Europe’s
. . . . . . . . . . . . . . . . . .Most
. . . . . . . . . . .Wanted
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paramount
. . . . . . . . . . . . . . . . . . . . . . . Pictures
. . . . . . . . . . . . . . . . . . France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
. . . .June
. . . . . . . . . .’12
.....
Madagascar
. . . . . . . . .Suicide
. . . . . . . . . . . . . . . Shop
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FR
....../
. . .CA
....../
. . . BE
. . . . . . . . . . . . . . . . . . . . . .ARP
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
. . . . . .Sept
. . . . . . . . . .’12
.....
The
. . . . . . . . . .in
. . . . .Black
. . . . . . . . . . . .3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sony
. . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .Releasing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
. . . . . .May
. . . . . . . . .’12
.....
Men
. . . . . . . . . . . . . . . . . . Ralph
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Walt
. . . . . . . . . .Disney
. . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
. . . Dec
. . . . . . . . .’12
.....
Wreck-It
. . . . . . . Soul
. . . . . . . . . .to
. . . . .Take
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Euro
. . . . . . . . . . TV
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
. . . .Aug
. . . . . . . .’12
.....
My
. . . . . . . . .of
. . . . .Pi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20th
. . . . . . . . . . Century
. . . . . . . . . . . . . . . . . Fox
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
. . . . . Dec
. . . . . . . . .’12
.....
Life
. . . . . . . . .Pirates!
. . . . . . . . . . . . . . . . Band
. . . . . . . . . . . of
. . . . . Misfits
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GB
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sony
. . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .Releasing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
. . . . . Mar
. . . . . . . . .’12
.....
The
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20th
. . . . . . . . . . Century
. . . . . . . . . . . . . . . . . Fox
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
. . . . . .May
. . . . . . . . .’12
.....
Prometheus
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Walt
. . . . . . . . . .Disney
. . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .France
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
. . . .Aug
. . . . . . . .’12
.....
Brave
. . . . . . . . . . . . . . . . . . . Evil
. . . . . . . . :. . Retribution
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Metropolitan
. . . . . . . . . . . . . . . . . . . . . . . . . . . Film
. . . . . . . . . . Export
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
. . . . . .Sept
. . . . . . . . . .’12
.....
Resident
. . . . . . . . . . . . . . . . . . . Great
. . . . . . . . . . . . .Escape
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BE
. . . . . . ./. . FR
. . . . . . ./. . IT
. . . . . . . . . . . . . . . . . . . . . .StudioCanal
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
. . . . . .Aug
. . . . . . . .’12
.....
Sammy’s
. . . . . . . . . . .Up
. . . . . .4:
. . . . .Miami
. . . . . . . . . . . . .Heat
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . US
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Universal
. . . . . . . . . . . . . . . . . . . .Pictures
. . . . . . . . . . . . . . . . . .International
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
. . . .Aug
. . . . . . . .’12
.....
Step
...........................................................................................................................................................................................................................................
...........................................................................................................................................................................................................................................
...........................................................................................................................................................................................................................................
...........................................................................................................................................................................................................................................
...........................................................................................................................................................................................................................................
F
Silent Hill: Revelation 3D
CA / FR
Metropolitan Film Export
28 Nov ’12
StreetDance 2
GB / DE
9 May ’12
The Amazing Spider-Man
US
Sony Pictures Releasing
4 July ’12
The Darkest Hour
US
20th Century Fox
11 Jan ’12
Underworld: Awakening
US
SND
First-run digital 3D releases in 2012
BE = Belgium / CA = Canada / DE = Germany / ES = Spain / FR = France / GB = Great Britain / HU = Hungary /
IT = Italy / NZ = New Zealand / US = United States.
1
8 Feb ’12
G
DISTRIBUTOR RANKING
In 2012, 133 distributors released 615 new films.
The ten most active distributors distributed 24.6% of
new films (28.8% in 2011). Metropolitan Film Export and
20th Century Fox distributed more than 20 films each,
totaling 8.0% of all films shown for the first time in
theaters in 2012. Three distributors released at least
20 films each in 2011 representing 11.8% of all new films.
In 2012, Warner Bros France topped the list of distributors
in terms of revenue. The distribution of The Dark Knight
Rises and of The Hobbit: An Unnexpected Journey among
other blockbusters, gave them a market share of 13.4%
(10.7% in 2011).
In second place, 20th Century Fox France brought in
8.6% of distributor revenue in 2012, notably due to
Ice Age: Continantal Drift and Prometheus.
Sony Pictures Releasing took third place. It distributed
Skyfall, the top ranked film by admissions.
The first French distributor ranked fifth: Pathé Distribution
(4th in 2011). The company distributed HOUBA! On the Trail
of the Marsupilami and What’s in a Name.
Paramount Pictures France came in ninth place in the
2012 distributor ranking with 4.9% of the market share.
The company ranked first in 2011, with a 10.9% market
share.
market share 1 (%)
Warner Bros France
films number of
released new films
1 ...................................................................................................................................
2 ...................................................................................................................................
13.4
164
15
20th Century Fox France
8.6
93
21
3 ...................................................................................................................................
4 ...................................................................................................................................
Sony Pictures Releasing
8.4
55
9
Walt Disney Pictures France
7.8
107
10
5 ...................................................................................................................................
6 ...................................................................................................................................
Pathé Distribution
7.7
181
16
Mars Films (Mars Distribution)
6.7
54
7 ...................................................................................................................................
14
Universal Pictures International
5.9
74
8 ...................................................................................................................................
18
5.1
136
28
9 ...................................................................................................................................
Paramount Pictures France
4.9
129
8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . 67
. . . . . . . . . . . . . . . . . . . . . . . . .12
...
10 SND
G
The top ten distributors in 2012 1
1
In terms of distributor revenue.
140
120
128
100
107
105
2004
2005
96
80
100
103
2006
2007
98
106
133
116
60
In 2012, the top ten distributors brought in 73.2% of all
revenue (76.1% in 2011). The top five brought in 45.8%
(48.5% in 2011).
40
20
0
2003
G
2008
2009
2010
2011
2012
Evolution in number of active distributors 1
1
Distributors of new films.
08
Distribution
DISTRIBUTION COSTS FOR FRENCH INITIATIVE FILMS
IN 2011
Methodology
The data below details distribution costs for CNC-approved
French initiative films released in theaters. Detailed
data on these costs were collected from three sources:
automatic financial support for distribution, Canal+
contribution to distribution (actual, accountantcertified investments), and data reported by distributors
of films not covered by automatic or support or that of
Canal+.
This analysis does not include any non-CNC-approved
French films, any approved minority French co-produced
films, or a few films in the survey for which the distributor
provided no answers.
Unlike the rest of this chapter, the following analyses
refer to the number of prints (traditional silver and digital)
for film releases and not to the number of openingweek theaters.
Publishing costs (distribution costs) have been broken
down into four categories:
_ laboratory costs: technical fees for printing, storage,
transporting prints, film trailer design and production,
and distribution of digital films (especially DCPs (Digital
Cinema Package) and KDMs (Key Delivery Message));
_ purchases of advertising space: posted display, radio,
Internet, press, cinema, television;
_ design and production costs for advertising materials:
poster design and production, creation and production
of radio ads, video clips, Web sites, etc;
_ miscellaneous promotional costs: production of
invitations, renting screening rooms, organizing
advanced screenings, expenses for festivals and
screenings, press officer fees, travel, etc.
It should be noted that spending related to digital
contribution payment (VPF, Virtual Print Fee) were
excluded from distribution costs. However, they were
the subject of an initial analysis in 2011.
H
Animation combined both significant editing costs
(€1,185,000 on average per French initiative film in 2011,
€877,100 in 2010) large-scale releases (344 prints per
film in average, 275 in 2010). In 2011 there were six
French initiative animation films, including A Monster in
Paris. Publishing costs invested by animation have been
multiplied by 3.0 over the last eight years and number of
prints by 2.3.
Increase of the average publishing costs for French
films in 2011
In 2011, the average distribution cost of a French initiative
film rose by 24.9% to €673,300. This increase is mainly
due to the 25.5% increase in in the average number
of prints per film (185 prints in 2011, compared to 147 in
2010).
Between 2004 and 2011, the average spending per film
for almost all items increased: +7.3% for purchasing
advertising space, +13.3% for various promotion costs
and +38.6% for spending on advertising materials.
The only item that saw a decrease was for laboratory
costs: an average of €186,800 was allocated per film in
2011, compared to €208,400 in 2004 (-10.4%). Between
2010 and 2011, all average expenditure items per film
increased: +34.8% for various promotion costs, +33.7%
for advertising material, +29.9% for advertising space
costs and +10.4% for laboratory costs
Documentaries had more controlled costs with a release
size of 49 prints in 2011 (42 in 2010), for an average
publishing cost of €205.100 (€197,600 in 2010).
A French initiative fiction film released an average of
188 prints in 2011 (168 prints in 2010), for an average
publishing cost of €687,700 (€610,600 in 2010). Average
publishing costs invested per film in the genre in 2011
increased by 12.6% compared to 2010.
200420052006200720082009 2010 2011
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106.16
. . . . . . . . . . . . . . . . . .112.89114.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95.98109.08
............................
total publishing cost (in millions of €) .108.49100.49114.49
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.1536.8635.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30.1330.27
...........................
laboratory costs . . . 35.2331.5735.41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.1348.2348.95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51.1842.3250.04
.............................................
ad space purchases . . . 48.6345.39
. . . . . . . . . . . . . . . . . .8.23
. . . . . . . . . . . . . . . .11.82
. . . . . . . . . . . . . . . . . . . .9.51
. . . . . . . . . . . . . . . . . .9.8210.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.0711.04
..........................
ad material fabrication . . . . . .8.31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.1215.26
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.26
. . . . . . . . . . . . . . . . . . 17.1314.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.73
.........
miscellaneous printed press . . . .16.3215.30
. . . . . . . 169150159165170176178162
....................................................................................................................................
number of films ........................................................................................................................................
average publishing cost per film (in thousands of €) . . .642.0669.9720.0643.4664.1648.0539.2673.3
publishing cost per print (€) H
3 782
3 925
3 908
3 842
3 711
3 664
3 664
3 646
...........................................................................................................................................
Distribution costs for French initiative films
I
Publishing costs:
10.9% of the final cost of French films in 2011
The final average cost of French initiative films
(production and distribution costs) was €6.39 million
for the films of 2011 (€5.99 million in 2010). The budget
dedicated to a film’s distribution was closely correlated
to its overall production cost. In 2011, a film with a
production cost lower than €1 million had an average
of €125,000 in publishing costs (€120,000 in 2010),
while a film with production costs exceeding €15 million
had average publishing costs almost 15 times more
(€1.76 million in 2011, €2.07 million in 2010).
Distribution costs were proportionately higher for
low-budget films (films with a production budget of less
than €1 million), representing 16.3% of a film’s final cost
in 2011. Beyond a €7 million production budget,
publishing costs as a proportion of the final cost
decreased gradually as the production budget grew:
12.2% for films with production budgets between
€7 million and €15 million and 7.1% for those whose
production budgets were greater than €15 million in 2011.
total final cost
< 1 M€
1-2.5 M€ 2.5-4 M€
4-7 M€
7-15 M€
> 15 M€
. . . . . . . . . . . . . . . . . . . . . . 50.23107.85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218.15377.07198.06
........................................................
(production + distribution) (in millions of €) . . . 13.00
. . . . . . . . . . . . . . . . . . . . . .44.48
. . . . . . . . . . . . . . . . . . . . . . .97.77
. . . . . . . . . . . . . . . . . . . .191.11330.94184.01
.......................................................
total production cost (in millions of €) . . . 10.88
. . . . . . 2.12
. . . . . . . . . . . . . . . . . . . . . .5.7510.0927.0446.1314.05
...............................................................................................
total publishing costs (in millions of €) . . . . . .0.82
. . . . . . . . . . . . . . . . . . . . . .1.66
. . . . . . . . . . . . . . . . . . . . . . 3.18
. . . . . . . . . . . . . . . . . . . . . . 7.6212.85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.42
.......
laboratory costs . . . . . .0.57
. . . . . . . . . . . . . . . . . . . . . .2.44
. . . . . . . . . . . . . . . . . . . . . .4.2412.4821.69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.47
.......
ad space purchases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.112.584.441.66
........................................................................
ad material publication 0.260.58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.152.49
............................
miscellaneous printed press 0.471.071.564.35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
.
number of films 1726303634
. . . . . . . . . . . . . . . . . . . . . .221.3
. . . . . . . . . . . . . . . . . . . . . 336.3
. . . . . . . . . . . . . . . . . . . . . . .751.21,356.81,755.8
.....................................................
average publishing costs per film (in thousands of €) . . . .124.6
I
by production cost in 2011
Base : 151 approved French-initiative films released in theaters in 2011.
08
Distribution
J
Distribution of publishing costs: highly dependent on
the number of prints
The distribution costs of a film increased steadily as the
number of prints increased. In 2011, films released with
fewer than 10 prints represented an average distribution
cost of €64,900 (€57,000 in 2010) and films released in
100 to 200 prints had distribution costs more than seven
times higher at €490,400 (€463,400 in 2010). Average
distribution costs exceeded €1 million on average for
films released in 200 to 400 prints; this budget doubled if
the film had more than 400 prints.
The structure of distribution costs for French initiative
films varied depending on the number of releases.
Laboratory costs were higher than the average for films
released in fewer than 50 prints (31.5% in average,
compared to 27.7% for all films in 2011), but they only
represented 26.8% for films released in more than
400 prints. The scale of the film and the amount of
exposure in theaters are factors that have a great impact
on technical expenses. It should be noted that deals for a
large number of releases allow the distributor to benefit
from a sometimes significant reduction in laboratory
costs. In 2011, the portion of laboratory costs decreased
linearly as the number of prints increased.
This correlation will probably weaken for 2012 films with
the spread of digital prints.
The financial resources that went towards the promotion
of films and more particularly to the purchase of
advertising space increased with the number of prints.
Thus, French films for which more than 100 prints were
made used substantial publicity campaigns to optimize
the film’s visibility in various media (46.7% of total
publishing costs went to purchasing advertising space
for films with more than 100 prints in 2011, compared to
46.5% in 2010). However, films with very small-scale
releases (fewer than 10 prints) relied more on press
relations and on working closely with movie theaters
(organizing advanced screenings, meet-the-director
events, etc.). These various promotion costs accounted
for 29.3% of publishing costs for this category of film in
2011. Advertising space was a significant expense for
these small-scale releases, whose distribution budgets
averaged €64,908 in 2011 (€57,037 in 2010).
<10
10-50 50-100 100-200200-400
>400
. . . . . .0.45
. . . . . . . . . . . . . . . . . . . . . .5.20
. . . . . . . . . . . . . . . . . . . . . .3.60
. . . . . . . . . . . . . . . . . . . . 17.1642.1540.51
.....................................................
total publishing costs (in millions of €) . . . . . . 0.18
. . . . . . . . . . . . . . . . . . . . . . 1.61
. . . . . . . . . . . . . . . . . . . . . .1.08
. . . . . . . . . . . . . . . . . . . . . .5.04
. . . . . . . . . . . . . . . . . . . .11.5210.86
...............................
laboratory costs . . . . . .0.08
. . . . . . . . . . . . . . . . . . . . . .1.69
. . . . . . . . . . . . . . . . . . . . . .1.56
. . . . . . . . . . . . . . . . . . . . . . 8.1119.2819.32
...................................................
ad space purchases ...........................................................................................................................
ad material publication 0.070.680.331.494.394.09
. . . . . . 0.131.230.632.536.976.24
.....................................................................................................................
miscellaneous printed press . . . . . . . . . . . .74116354122
...............................................................................................................
number of films . . . . . . . . . . . . . . . . . . . .126.8
. . . . . . . . . . . . . . . . . . . . . 225.0
. . . . . . . . . . . . . . . . . . . . . .490.41,028.11,841.4
......................................................
average publishing costs per film (in thousands of €) . . . . . .64.9
J
in 2011, by number of prints
Base: 162 approved French-initiative films released in theaters in 2011.
K
Over €55,000 on average in Virtual Print Fee
per film in 2011
Of the 162 approved French initiative films released in
2011 and analyzed here, 7 films were not distributed
digitally. These films had an average release of 8 prints.
For the 155 films released digitally in 2011, Virtual Print
Fees (VPF) to cinema owners were available for 147 of
them, i.e. 94.8% of French initiative films partially or
totally released in digital.
Total VPF for the 147 French initiative films released in
theaters in 2011 were €8,213.7 thousand, i.e. an average
of €55,876 per film. The share of VPF in distribution costs
for these films was estimated at 6.7%. It should be noted
that over 95% of these films were also distributed in
traditional silver prints, which explains the relatively
weak share of VPF in the distribution cost of these films.
Full results concerning the cost of French film
distribution in 2011 were published in March 2013
and are available at www.cnc.fr.
number of films 147
....................
number of prints (traditional silver + digital) ....................
total VPF (in thousands of €) ....................
28 763
VPF per film (€) ....................
8 213,7
55 876
average distribution cost per film
....................
(including VPF) (in thousands of €) 772,5
....................
Share of VPF in distribution costs (%) 6,7
K
Virtual Print Fee
identified in 2011
Base: 147 French-initiative films released in 2011.
Source: CNC.
Le Kosmos, Fontenay-sous-bois (94). © Melissa Kenel.
Le Saint-Germain des Prés, Paris (75).
© Marion / FNCF.
Décavision, Annecy (74). © DR.
Club 6, Saint-Brieuc (22). © Jean Walker / Côté Cinéma.
La Pagode, Paris (75). © Marion / FNCF.
Cinéma Le Palace, Épinal (88). © Ava du Parc.
Cinéville, Lorient (56). ©Freddy Rapin.
09
09
l’exploitation
Exhibition
En 2009, 5 470 salles de cinéma regroupées dans 2 066 établissements sont actives.
In 2012, 5,502 screens were in active use in 2,029 cinemas.
Le parc de salles poursuit sa croissance. 10 multiplexes ouvrent en 2009,
The total number of screens increased compared to 2011 (+36 screens).
ce qui porte le nombre total de multiplexes actifs à 174.
Six multiplexes opened in 2012, which brought the total number of multiplexes in operation to 181.
Les multiplexes concentrent plus de la moitié de la fréquentation
Multiplexes accounted for nearly 60% of attendance (59.4% of admissions in 2012).
(57,1 % des entrées réalisées en 2009).
Cinéma Gérard Philipe, Vénissieux (69). ©Jean Walker / Côté Cinéma.
Ciné 32, Auch (32). © DR Ciné 32.
Cinéma Le Méliès, Saint-Etienne (42). © Niko Rodamel.
09
Exhibition
What is an active screen?
In order to measure cinema screen activity across
France, the CNC has taken an annual census of active
screens; that is, any screen that showed at least
one film which required exhibitors to file a statement
of receipts with the CNC. This statement provides
documentary proof of earnings, TSA calculations,
and automatic financial support calculations.
These documents were used to tabulate all statistics
concerning film exhibition in theaters.
Cinema exhibitors were required to provide a statement
of earnings for each week, every screen, and every film.
Included for each week were the titles of films currently
featured, the number of scheduled show times,
total admissions, and total earnings.
Screens that only broadcast video instead of screening
films were not included in this review of exhibition.
What is a multiplex?
Current laws and regulations do not provide a legal
definition for multiplex. In other European countries,
the term is applied to all theaters with eight or more
screens. Moreover, it should be noted that Ordinance
No. 2010-781 of July 8, 2010 on groups, alliances and
commitments subjects owner-operators of theaters
that have at least eight screens to underwriting
scheduling commitments. This particularly concerns
commitments relating to multicasting limitations.
On this basis, the CNC now uses the term multiplex for
all theaters with at least eight screens. This definition
will be adopted regardless of the year to which it refers.
A
Total number of screens increased
There were 5,502 active screens in France in 2012,
36 more than in 2011. This figure was affected by
the temporary or permanent closing of 96 screens and
opening or re-opening of 132 screens. Since 2007, most
screen openings have resulted from an increase in the
total number of multiplexes: 48.5% of new screens were
in multiplexes in 2012 (49.4% of new screens in 2011).
At the same time, the opening of some multiplexes
sometimes causes other theaters to close, particularly
in the case of operations transfers. For example, the
closing of one 3-screen theater and one single-screen
theater in Thonon (74) coincided with the opening of
a 8-screen multiplex in the same town. In Nevers (58),
one 8-screen theater closed after a 10-screen multiplex
opened.
It should be noted that of the 132 screens opened
in 2012, 12 were the result of existing cinema expansion
(9 in 2011).
In 2012, the number of active theaters decreased
(-3 compared to 2011). 38 theaters opened or re-opened
whereas 41 were temporarily or permanently closed.
In the past, the majority of theaters that closed were
small. Now, for reasons already mentioned,
medium-sized theaters are also being affected. In 2012,
one 8-screen theater, one 7-screen theater, two 6-screen
theaters, two 5-screen theaters and three 4-screen
theaters closed temporarily (for refurbishment) or
permanently. 60.5% of newly-opened theaters in 2012
had one screen (23 theaters). Six had 8 or more screens.
In 2012, two 2-screen theaters, three 3-screen theaters,
one 5-screen theater, two 6-screen theaters and one
7-screen theater were opened.
Over the last ten years, theaters seating capacity
was stable (-0.4%). However, the number of theaters
decreased more significantly over the period (-4.7%).
This resulted in a higher average capacity per theater, up
to 527 places in 2012 (+4.6% compared to 2003).
The 5,502 active screens in 2012 included 116 touring
theaters circuits (118 in 2011 and 123 in 2010) and
5 outdoor screens (6 in 2011 and 8 in 2010).
theaters
screensseats
2003 2,130
5,2811,073,000
.......................................................................
. . . . . . . . . . . . . . . . . . . . . 5,2761,061,669
....................................
2004 . . . . . . . . . . . . . .2,100
2005 .......................................................................
2006 .......................................................................
2,076
5,2731,059,264
2,063
5,2831,056,868
2007 .......................................................................
2,054
5,3151,056,072
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5,3891,066,593
....................................
2008 2,068
2009 .......................................................................
2010 .......................................................................
2011 .......................................................................
2012 .......................................................................
A
2,065
5,4691,076,984
2,046 5,4641,073,681
2,032
5,4661,065,803
2,029
5,5021,068,903
Theaters in France1
1
Provisional data for 2012 and
updated data for previous years.
B
C
In 2012, in Paris, the number of active screens rose to
372, from 364 in 2011. The French capital counted two
more theaters: the MK2 Grand Palais (one screen) and
the Etoile Lilas (7 screens). No theater was closed in
Paris in 2012.
Paris is home to 85 theaters, 7 of which are theaters
with 8 or more screens (multiplexes). Paris theaters
had a total of more than 70,000 seats in 2012.
In ten years, Paris has lost five theaters, leading to
a 5.4% drop in number of seats.
Decrease in the average number of admissions
per theater
Given 2012’s 6.3% decrease in attendance, average
admissions per theater dropped to 100,267, down 6.1%
compared to 2011. The average admissions per screen
also decreased by 6.9% to 36,976 admissions.
On average, a single multiplex recorded 667,320 admissions
in 2012, compared to 722,623 in 2011 (-7.7%).
theaters
screensseats
per per
theater screen
. . . . . . . . . . . . . . . . . . . .90
. . . . . . . . . . . . . . . . . . . 38174,628
................................
2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32,846
............
2003 81,435
. . . . . . . . . . . . . . . . . . . .89
. . . . . . . . . . . . . . . . . . . 37873,918
................................
2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37,091
............
2004 93,187
. . . . . . . . . . . . . . . . . . . .89
. . . . . . . . . . . . . . . . . . .38375,100
................................
2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33,287
............
2005 84,548
. . . . . . . . . . . . . . . . . . . .88
. . . . . . . . . . . . . . . . . . . 37974,097
................................
2006 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35,732
............
2006 91,504
. . . . . . . . . . . . . . . . . . . .87
. . . . . . . . . . . . . . . . . . . 37672,914
................................
2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33,567
............
2007 86,859
. . . . . . . . . . . . . . . . . . . .84
. . . . . . . . . . . . . . . . . . . 36270,409
................................
2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35,290
............
2008 91,962
. . . . . . . . . . . . . . . . . . . .84
. . . . . . . . . . . . . . . . . . . 36269,979
................................
2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36,845
............
2009 97,581
. . . . . . . . . . . . . . . . . . . .84
. . . . . . . . . . . . . . . . . . .36370,140
................................
2010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37,875
............
2010 101,149
. . . . . . . . . . . . . . . . . . . .83
. . . . . . . . . . . . . . . . . . .36469,358
................................
2011 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39,712
............
2011 106,825
. . . . . . . . . . . . . . . . . . . .85
. . . . . . . . . . . . . . . . . . . 37270,591
................................
2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36,976
............
2012 100,267
B
Theaters in Paris1
1
C
Average number
of admissions1
1
09
Exhibition
D
Definition of small, medium and large theaters
Each theater is professionally classified as being small,
medium or large, depending on its annual admissions
level. Thus, theaters with fewer than 80,000 yearly
admissions are considered small, those with 80,000
to 450,000 admissions are considered medium-sized,
and those with over 450,000 admissions are classified
as large. However, according to convention, all theaters
operated by companies that own at least 50 screens
are classified as large, regardless of their admissions
level.
66.2% of admissions occurred at large theaters
While 75.2% of theaters were classified as small in 2012,
they accounted for 37.0% of active screens, 38.0% of seats
and 15.0% of admissions. In contrast, 13.4% of theaters
were classified as large, accounting for 42.7% of all
screens, 44.8% of seats and 66.2% of total admissions.
Large theaters had an average of 497,291 admissions
in 2012, compared to 164,388 admissions for medium
theaters and 20,012 admissions for small theaters.
In the context of an overall decrease in attendance
(-6.3% compared to 2011), large and medium theaters
experienced a decrease in attendance (-6.6% and -6.5%,
respectively), a sharper decrease than for small theaters
(-4.7%).
E
2K digital projectors in 1,643 theaters
At the end of December 2012, 1,643 active theaters
had at least one 2K digital projector in France, 81.0%
of the total number of theaters (47.6% at the end of 2011).
The significant increase in installations in 2012 was
mainly due to small theaters.
Among the main operating groups, les Cinémas Gaumont
Pathé had a total of 71 theaters equipped with at least one
digital projector (98.6% of theaters owned by the group).
All the theaters owned by CGR (41 theaters) and by UGC
(36 theaters) were equipped with digital projectors at the
end of 2012.
5,016 of the 5,057 screens making up the 1,643 theaters
that were completely or partially digitized were equipped
for this type of projection, i.e., 99.2% of all theaters screens
involved and 91.2% of all active screens in France in 2012
(91.0% and 65.9%, respectively, at the end of 2011).
admissions
theaters
screensseats
(in millions)
small cinemas
2008 . . . . . . . . . . . .1,5672,148445,393
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32.07
..........
2009 . . . . . . . . . . . .1,5422,060
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .424,528
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30.31
..........
2010 . . . . . . . . . . . .1,5342,065
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .422,522
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.09
..........
2011 . . . . . . . . . . . 1,4941,973
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400,580
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32.03
..........
2012 . . . . . . . . . . . .1,5262,035
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406,042
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30.54
..........
share of total in 2012 (%) . . . . . . . . . . . . . .75.237.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38.0
. . . . . . . . . . . . . . . . . . . . . . . . . .15.0
.......
medium cinemas
2008 . . . . . . . . . . . . . . . 2201,029
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174,423
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35.06
..........
2009 . . . . . . . . . . . . . . .2341,084
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181,914
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.58
.........
2010 . . . . . . . . . . . . . . . 2241,050
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176,156
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.40
.........
2011 . . . . . . . . . . . . . . .2441,135
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187,222
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40.77
..........
2012 . . . . . . . . . . . . . . . 2321,116183,862
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38.14
.........
share of total in 2012 (%) . . . . . . . . . . . . . . 11.420.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.2
. . . . . . . . . . . . . . . . . . . . . . . . . .18.7
.......
large cinemas
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123.03
............
2008 . . . . . . . . . . . . . . .2802,211446,643
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470,408
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .133.60
............
2009 . . . . . . . . . . . . . . .2882,324
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .474,869
. . . . . . . . . . . . . . . . . . . . . . . . . . . .138.45
............
2010 . . . . . . . . . . . . . . . 2892,348
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .478,001
. . . . . . . . . . . . . . . . . . . . . . . . . . . .144.27
............
2011 . . . . . . . . . . . . . . .2942,358
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .478,999
. . . . . . . . . . . . . . . . . . . . . . . . . . . .134.77
............
2012 . . . . . . . . . . . . . . . 2712,351
. . . . . . . . . . . . . .13.442.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44.8
. . . . . . . . . . . . . . . . . . . . . . . . . . 66.2
........
share of total in 2012 (%) D
Theaters by category1
1
active
theatersscreens
2008 . . . . . . . . . . . . . . . . . 132427
............................
. . . . . . . . . . . . . . . . . 307963
............................
2009 . . . . . . . . . . . . . . . . . 5201,820
............................
2010 . . . . . . . . . . . . . . . . .9683,600
............................
2011 . . . . . . . . . . . . . 1,6435,016
................................
2012 . . . . . . . . . . . . . . . .81.091.2
.............................
share of total in 2012 (%) E
Theaters equipped with 2K
digital projectors
Source: CNC – Cinégo – Manice.
F
G
Spread of 2K digital projection mostly affected
small theaters in 2012
11.0% of theaters outfitted with at least one 2K digital
projector were multiplexes (8 or more screens) in 2012
(18.1% in 2011). The new equipment installed in 2012 was
primarily for small theaters: 74.8% of theaters that
were digitally equipped in 2012 had less than 4 screens,
compared to 62.1% in 2011 and 41.3% in 2010.
They represented 468 of the 675 newly-equipped
theaters in 2012.
However, although all the theaters with 8 screens and
more had at least one 2K digital projector at the end of
2012, this was only the case for 76.3% of theaters with
fewer than 4 screens.
The breakdown of digitized theaters by theater category
is growing closer to the overall theaters breakdown.
Small theaters accounted for 70.1% of theaters with at
least one 2K digital projector in 2012 (75.2% of all
theaters), compared to 14.0% for medium theaters
(11.4%) and 15.9% for large theaters (13.4%). In 2011,
large theaters accounted for 25.8% (14.5% of all
theaters), compared
to 19.8% for medium theaters (12.0%) and 54.3% for
small theaters (73.5%).
92.7% of newly-equipped theaters in 2012 were small
(626 theaters). The number of digitally equipped theaters
in this category more than doubled between 2011 and 2012.
99.1% of medium theaters, 96.3% of large theaters
and 75.5% of small theaters, had at least one 2K digital
projector.
At the end of December 2012, 386 active theaters
were still not equipped for 2K digital projection.
These were primarily small theaters (96.9%), and largely
single-screen theaters (90.4%). 96 were touring circuits
or open-air theaters.
share of
total in
2008
2009
2010
2011
2012 2012 (%)
1 screen . . . . . . . .21
. . . . . . . . . . . . . . . . . . . .31101364832
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70.4
.......
. . . . . . . .19
. . . . . . . . . . . . . . . . . . . .48
. . . . . . . . . . . . . . . . . .114237397
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92.5
........
2 to 3 screens . . . . . . . .18
. . . . . . . . . . . . . . . . . . . .48
. . . . . . . . . . . . . . . . . . . 83120153
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98.1
.......
4 to 5 screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97.6
.......
6 to 7 screens 1334547280
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
8 to 11 screens 2573838994
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
12 screens or more 3673858687
. . . . . . . . . . . . . . . . . . . .307
. . . . . . . . . . . . . . . . . . . .520
. . . . . . . . . . . . . . . . . . . .9681,643
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81.0
.......
total . . . . . 132
F
Theaters equipped with 2K digital
projectors by total number of screens
share of
total in
2008
2009
2010
2011
2012 2012 (%)
small theaters . . . . . . . .33
. . . . . . . . . . . . . . . . . . . .63
. . . . . . . . . . . . . . . . . 180
. . . . . . . . . . . . . . . . . . . .5261,152
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75.5
.......
. . . . . . . .28
. . . . . . . . . . . . . . . . . . . .82
. . . . . . . . . . . . . . . . . 135
. . . . . . . . . . . . . . . . . . . . 192
. . . . . . . . . . . . . . . . . . . .23099.1
..........................
medium theaters . . . . . . . .71
. . . . . . . . . . . . . . . . . 162
. . . . . . . . . . . . . . . . . . . .205
. . . . . . . . . . . . . . . . . . . .250
. . . . . . . . . . . . . . . . . . . .26196.3
..........................
large theaters . . . . . . . . . . . . . . . . . . . .307
. . . . . . . . . . . . . . . . . . . .520
. . . . . . . . . . . . . . . . . . . .9681,643
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81.0
.......
total . . . . . 132
G
Theaters equipped with 2K digital projectors
by category
09
Exhibition
H
Nearly 60% of admissions were at multiplexes
In 2012, 181 multiplexes were active in France,
including six that opened during that year. The growth
rate was slightly higher than in 2011 (four openings).
In 2012, multiplexes accounted for 8.9% of theaters and
possessed 37.8% of total screens and 39.6% of seats.
Multiplexes had massive attendance figures: 59.4% of
admissions were in multiplexes in 2012 (58.6% in 2011).
Multiplex attendance fell by 5.0% compared to 2011,
versus a 6.3% drop for all theaters.
The total number of French theaters included
1,181 single-screen theaters (21.5% of screens).
These theaters accounted for 24.7% of seats and 8.3%
of admissions. The 667 theaters with 2 to 7 screens
accounted for 40.7% of screens and 35.7% of seats
in 2012. They generated 32.3% of the year’s admissions.
admissions
theaters screensseats
(millions)
number
. . . . . . . . . 164
. . . . . . . . . . . . . . . . . . . . . . .1,879382,207
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106.57
............
2008 . . . . . . . . . .171
. . . . . . . . . . . . . . . . . . . . . 1,968400,748
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115.92
............
2009 . . . . . . . . . . . . . . . . . . . . . . .1,988404,784
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121.14
...........
2010 . . . . . . . . . 172
. . . . . . . . . 176
. . . . . . . . . . . . . . . . . . . . . . 2,026412,045
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127.19
...........
2011 . . . . . . . . . . . . . . . . . . . . . 2,082423,306
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120.83
............
2012 . . . . . . . . . .181
proportion of total (%) . . . . . . . . . . .7.934.935.856.0
..................................................................................
2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.257.5
.................................
2009 8.336.0
. . . . . . . . . . 8.436.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.758.5
.................................
2010 . . . . . . . . . . 8.7
. . . . . . . . . . . . . . . . . . . . . . . . .37.138.758.6
..........................................................
2011 . . . . . . . . . . 8.9
. . . . . . . . . . . . . . . . . . . . . . . . 37.839.659.4
...........................................................
2012 H
Exhibition results for theaters with
eight or more screens (multiplexes)1
1
Provisionnal data for 2012 and updated data for previous years.
theater
operator
town or city
urban area
date opened screens
seats
UGC Ciné
. . . .Cité
. . . . . . . . .Confluences
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . UGC
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyon
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lyon
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .April
. . . . . . . . . . 2012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
. . . . . . . . . . . . . . . . . 3,464
...........
. . . . . . . . . . . . . . . . . . .Les
. . . . . . . .Halles
. . . . . . . . . . . . . . . . . Les
. . . . . . . . Cinémas
. . . . . . . . . . . . . . . . . . .Gaumont
. . . . . . . . . . . . . . . . . . . Pathé
. . . . . . . . . . . . . . . . . . . . Chambéry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Chambéry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .July
. . . . . . . . .2012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . . 1,611
..........
Pathé Chambéry
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CinéAlpes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nevers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nevers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .August
. . . . . . . . . . . . . . .2012
. . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . . 1,816
..........
Ciné Mazarin
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Les
. . . . . . . . Écrans
. . . . . . . . . . . . . . . de
. . . . . . Chaumont
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chaumont
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Chaumont
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .August
. . . . . . . . . . . . . . .2012
. . . . . . . . . . . . . . . . . . . . . . . . . . 8
. . . . . . . . . . . . . . . . 1,134
..........
À l’affiche
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CGR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fontaine-le-Comte
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fontaine-le-Comte
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .October
. . . . . . . . . . . . . . . . .2012
. . . . . . . . . . . . . . . . . . . . . . . . 8
. . . . . . . . . . . . . . . .1,501
..........
Méga CGR
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cinéville
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quimper
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quimper
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .December
. . . . . . . . . . . . . . . . . . . . . .2012
. . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . .1,987
..........
Cinéville
H
Six multiplexes opened in 20121
1
Multiplexes are defined as cinemas with eight or more screens.
admissions
theatersscreens
seats
(%)
1 screen . . . . . . . . . . . . . . . . 1,181
. . . . . . . . . . . . . . . . . . . . . . . . . . 1,181264,445
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.3
.....
. . . . . . . . . . . . . . . . . . . 429
. . . . . . . . . . . . . . . . . . . . . . .1,011173,551
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.8
.......
2 to 3 screens . . . . . . . . . . . . . . . . . . . 156
. . . . . . . . . . . . . . . . . . . . . . . . . .695113,560
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.7
.......
4 to 5 screens . . . . . . . . . . . . . . . . . . . . . .82
. . . . . . . . . . . . . . . . . . . . . . .53394,041
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10.8
.......
6 to 7 screens . . . . . . . . . . . . . . . . . . . . . .94
. . . . . . . . . . . . . . . . . . . . . . . 872164,915
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.2
.......
8 to 11 screens . . . . . . . . . . . . . . . . . . . . . .87
. . . . . . . . . . . . . . . . . . . .1,210258,391
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40.2
.......
12 screens or more . . . . . . . . . . . . . . . 2,029
. . . . . . . . . . . . . . . . . . . . . . . . . . 5,5021,068,903
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100.0
..........
total H
Theaters in 2012, by number of screens1
1
Provisionnal data.
CINEMA EXHIBITION COMPANIES
I
The ten companies that garnered more than 1% of annual
box-office receipts in 2012 operated 2,134 screens,
or 38.8% of the total number of active screens (38.4% in
2011 and 38.2% in 2010). These companies registered
61.4% of admissions in 2012 (61.4% in 2011 and 62.2%
in 2010).
In 2012, les Cinémas Gaumont Pathé ran 753 screens, or
13.7% of active screens. At 7.7% of the total (424 screens),
CGR was the second largest operator. In third place,
UGC had 378 screens (6.9% of active screens).
Definition of national scheduling group
When theater scheduling is not secured directly
by owner companies, it is conducted by a scheduling
group or alliance.
It should be noted that certain groups and alliances
schedule the theaters that they own.
J
number of screens
% of total
20082009 2010 2011 2012200820092010 2011 2012
Cap’Cinéma . . . . . . . .78
. . . . . . . . . . . . . . . . . . . .75
. . . . . . . . . . . . . . . . . . . .75
. . . . . . . . . . . . . . . . . . . 73
. . . . . . . . . . . . . . . . . . . . 891.41.41.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.31.6
..........................
. . . . . 372
. . . . . . . . . . . . . . . . . . . . 375
. . . . . . . . . . . . . . . . . . . .393413
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4246.96.97.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.6
. . . . . . . . . . . . . . . . . . . . 7.7
......
CGR . . . . . 146
. . . . . . . . . . . . . . . . . . . . 145
. . . . . . . . . . . . . . . . . . . . 143
. . . . . . . . . . . . . . . . . . . . 1421112.72.72.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.62.0
..........................
CinéAlpes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.3
. . . . . . . . . . . . . . . . . . . .13.6
. . . . . . . . . . . . . . . . . . . 13.913.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13.7
........
Les Cinémas Gaumont Pathé 663743760760753
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.6
. . . . . . . . . . . . . . . . . . . . 1.6
. . . . . . . . . . . . . . . . . . . .1.61.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.6
......
Kinépolis 8787878787
. . . . . . . .60
. . . . . . . . . . . . . . . . . . . .56
. . . . . . . . . . . . . . . . . . . .59
. . . . . . . . . . . . . . . . . . . 59
. . . . . . . . . . . . . . . . . . . . 821.11.01.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.11.5
..........................
Megarama (Lemoine) . . . . . . . .58
. . . . . . . . . . . . . . . . . . . .58
. . . . . . . . . . . . . . . . . . . 58
. . . . . . . . . . . . . . . . . . . . 60
. . . . . . . . . . . . . . . . . . . . .611.11.11.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.11.1
..........................
MK2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.6
. . . . . . . . . . . . . . . . . . . . 1.6
. . . . . . . . . . . . . . . . . . . .1.61.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.7
......
SAS Cinéville 8888888893
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.7
. . . . . . . . . . . . . . . . . . . .6.8
. . . . . . . . . . . . . . . . . . . 6.7
. . . . . . . . . . . . . . . . . . . . .6.7
. . . . . . . . . . . . . . . . . . . .6.9
......
UGC 359371365365378
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.91.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.11.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.0
......
UGC Méditerranée (Aubert) 5160605456
I
Major theaters operators1
1
Operators earning over 1% of the box-office receipts for 2012.
Provisional data for 2012 and updated data for previous years.
In 2012, the eight national groups and alliances approved
at the end of 2011 provided scheduling for 2,236 screens,
or 40.6% of all screens. In 2011, the eight national groups
provided scheduling for 38.8% of active screens.
Les Cinémas Gaumont Pathé scheduled the largest
number of screens (778 in 2012).
number of screens
% of total
20082009 2010 2011 2012200820092010 2011 2012
Agora Cinémas . . . . . . . .67
. . . . . . . . . . . . . . . . . . . .63
. . . . . . . . . . . . . . . . . . . .75
. . . . . . . . . . . . . . . . . . . .75
. . . . . . . . . . . . . . . . . . . 981.21.21.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.41.8
..........................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.6
. . . . . . . . . . . . . . . . . . . .4.5
. . . . . . . . . . . . . . . . . . . 4.7
. . . . . . . . . . . . . . . . . . . . .4.7
. . . . . . . . . . . . . . . . . . . .4.8
......
CinéDiffusion 250247255256266
. . . . . 694
. . . . . . . . . . . . . . . . . . . . 770
. . . . . . . . . . . . . . . . . . . .780
. . . . . . . . . . . . . . . . . . . .777
. . . . . . . . . . . . . . . . . . . .77812.914.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.314.214.1
.................................................
Les Cinémas Gaumont Pathé . . . . . 152
. . . . . . . . . . . . . . . . . . . . 173
. . . . . . . . . . . . . . . . . . . . 153
. . . . . . . . . . . . . . . . . . . . 150
. . . . . . . . . . . . . . . . . . . . 1772.83.22.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.73.2
..........................
GPCI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.1
. . . . . . . . . . . . . . . . . . . .2.02.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.0
. . . . . . . . . . . . . . . . . . . . 2.1
......
MC4 111110112112113
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.01.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.21.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.2
......
Micromegas 5460666667
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.6
. . . . . . . . . . . . . . . . . . . . 7.8
. . . . . . . . . . . . . . . . . . . .7.6
. . . . . . . . . . . . . . . . . . . . 7.6
. . . . . . . . . . . . . . . . . . . . 7.9
......
UGC 407428417417435
. . . . . 273
. . . . . . . . . . . . . . . . . . . . 274
. . . . . . . . . . . . . . . . . . . . 270
. . . . . . . . . . . . . . . . . . . .269
. . . . . . . . . . . . . . . . . . . .3025.15.04.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.95.5
..........................
VEO J
National scheduling groups1
1
Provisional data for 2012 and updated data for previous years.
War of the Buttons by Yann Samuell. © UGC Distribution.
Of Gods and Men by Xavier Beauvois. © Mars Distribution.
The Intouchables by Éric Toledano and Olivier Nakache. © 2011 Gaumont / Quad / photo: Thierry Valletoux.
Les Petits Mouchoirs by Guillaume Canet.
© Les Productions du Trésor / EuropaCorp / Caneo Films / M6 Films.
A Gang Story by Olivier Marchal.
© Jérôme Prébois / Gaumont – LGM Films.
10
Physical Video Media
A Monster in Paris by Bibo Bergeron. © 2011 Europacorp /
Bibo Films / France 3 Cinéma / Walking The Dog.
In 2012, DVD and Blu-ray sales generated €1.12 billion in spending in France.
Household spending on physical video media decreased 8.7% as compared to 2011.
Blu-ray captured 20.0% of the market. Films generated €691.7 million in receipts, a decrease of 8.2% compared to 2011.
French films generated €163.9 million (+0.9%).
The Artist by Michel Hazanavicius. © Warner Bros France 2011.
Hollywoo by Frédéric Berthe and Pascal Serieis.
Nothing to Declare by Dany Boon.
© Pathé Distribution.
Polisse by Maïwenn. © Mars Distribution.
10
Methodology:
Household spending on physical video media was studied
by the GfK Institute based on sales from supermarkets,
specialty superstores, mail order, and off the Internet.
These figures do not include sales in magazine stands
or gas stations and exclude revenue from rentals. GfK’s
assessments of French household spending on physical
video media exclude adult movies or programs.
Each format (VHS, DVD, and Blu-ray) was correlated with
genre (feature film or non-feature film, fiction, animation,
documentary, comedy, etc.) and country of origin. This
comparison was made using data collected by the CNC.
Any works that were distributed to and were released
in theaters, before being released on video, were assigned
to the “film” category. CNC records were used for film
country of origin and genre information.
Since 2007, GfK data have included two changes from
previous years:
VHS is now excluded from the analysis because it scarcely
generates revenues. High Definition is now included.
The Blu-ray format, developed by Sony, has been
the standard for HD since 2008.
The 2011 data were updated by GfK, taking into account
a new division of weekly data, which explains the
discrepancies between this and previous publications.
A
Market trends: -6.8% in volume, -8.7% in revenue
In 2012, the French spent €1.12 billion on DVD and Blu-ray
purchases. After three relatively stable years between
2008 and 2010, household spending on physical video
media has been decreasing for two years: 11.7% between
2010 and 2011, and 8.7% between 2011 and 2012. In five
years, the physical video market sales figure has decreased
by 25.3%. It now represents about 85% of the global video
market in 2012 (including VoD).
For DVD and Blu-ray, DVD remains the favorite format
and made up 80.0% of the market in 2012. This figure
was 92.2% in 2009. DVD format revenue decreased by
12.3% in 2012, totaling less than one billion euros.
In volume, 105.9 million DVDs were sold in 2012, 8.9%
less than in 2011.
With the number of homes equipped with HD readers
continuing to increase, Blu-ray sales remained on the rise
(+9.3% between 2011 and 2012 to reach €223.7 million),
with nearly 14.1 million units sold (+12.0%). Despite this
growth, the increase in Blu-ray sales does not offset the
decrease in DVD sales. Blu-ray represented 20.0% of
physical video media sales in 2012 (+3.3 points in one
year).
Because the medium is disappearing, VHS sales are no longer
included in the video market figures. In 2012, VHS generated
€0.33 million in receipts for just above 30,000 units sold,
compared to €0.48 million and 55,000 units in 2011.
In 2012, the average retail price of a catalog DVD unit
increased by 0.5% to €8.42 (€8.37 in 2011). The price of new
releases (on sale for fewer than six months) fell by 3.8%
to €17.59. All types of packaging taken together (including
box sets, where the total price is divided by the number
of DVDs), the average price for new releases fell by 3.2%
to €13.01 in 2012.
Sales of DVDs priced between €17 and €20 represented
the main market price bracket, with 25.8% of total sales
versus 26.4% in 2011. In terms of volumes, DVDs priced
€3 to €8 represented the main price bracket with 33.8%
of volumes in 2012, compared to 32.6% in 2011. In 2012,
DVDs priced below €3 represented 0.5% of sales (0.7%
in 2011) and 3.2% by volume (4.6% in 2011).
The average price of a new release unit on Blu-ray dropped
by 1.6% to €23.24 (€23.61 in 2011). All types of packaging
included, the average price of a new release unit on Blu-ray
was down 3.5%. The price of a catalog Blu-ray unit was
up 1.9% to €13.01. Most Blu-ray media were sold for
between €10 and €17 (40.1% of the sales volume). However,
the greatest part of the Blu-ray sales figure (46.7%) came
from units sold for between €20 and €30 (45.7% in 2011),
making up 37.9% of total Blu-ray sales volume (38.1%
in 2011).
VHS
DVDBlu-ray2
total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -1,958.82
.............................
2004 114.231,844.58
. . . . . 26.881,757.30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -1,784.18
.............................
2005 . . . . . . . .4.481,654.69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -
. . . . . . . . . . . . . .1,659.17
...............
2006 . . . . . . . . . . . . . . .-1,479.86
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.271,494.13
......................................
2007 . . . . . . . . . . . . . . .-1,330.98
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51.451,382.44
.....................................
2008 . . . . . . . . . . . . . . .-1,277.06
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107.331,384.39
........................................
2009 . . . . . . . . . . . . . . .-1,211.68
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173.74
. . . . . . . . . . . . . . . . . . . . . . . .1,385.42
................
2010 . . . . . . . . . . . . . . .-1,018.22
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204.661,222.88
........................................
20113 . . . . . . . . . . . . . . .-892.59223.69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,116.29
...............
2012 . . . . . . . . . . . . . . .--12.3%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +9.3%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . -8.7%
...........
evolution 12/11 VHS
DVDBlu-ray 2
total
A
2004 . . . . . .10.38121.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -132.11
.........................
. . . . . . . .3.62139.79
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -143.41
.........................
2005 . . . . . . . . 1.01135.36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -136.37
.........................
2006 . . . . . . . . . . . . . . .-130.50
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.54131.04
...............................
2007 Video sales by medium (millions of €)1
1
The scope of analysis has been modified since 2007:
VHS is no longer included. HD formats are included.
2
This medium, developed by Sony, became the standard
HD medium in 2008.
3
Updated data.
Source: CNC – GfK.
. . . . . . . . . . . . . . .-126.02
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.16128.18
...............................
2008 . . . . . . . . . . . . . . .-135.58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.28140.87
...............................
2009 . . . . . . . . . . . . . . .-134.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.69
. . . . . . . . . . . . . . . . . . . 144.13
............
2010 . . . . . . . . . . . . . . .-116.18
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.58128.76
.................................
20113 . . . . . . . . . . . . . . .-105.86
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.09119.94
..................................
2012 . . . . . . . . . . . . . -8.9%+12.0%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-6.8%
...........
evolution 12/11 . . . . . . . . . . . . . . .-
A
Video sales by medium (million units)1
1
2
HD medium in 2008.
3
Updated data.
2,000
1,500
1,000
500
0
2004
A
2005
2006
2007
2008
2009
2010
2011
2012
Evolution of the video revenue
(millions of €)1
VHS
DVD
Blu-ray2
2
1
HD medium in 2008.
10
Methodology
The analysis of video distribution formats by genre
distinguishes two categories: feature and non-feature
films. The feature film category includes all feature-length
films distributed in theaters in France. The non-feature
film category includes all direct-to-video works and other
programs, such as television programs, works of theater,
documentaries (excluding feature-length works), comedy
shows, short films, musical programs and miscellaneous
programs (health, fitness, cooking, etc.). Adult programming
is not included in the scope of analysis.
B
New decrease in non-feature film revenue
For the sixth consecutive year, non-feature films have
shown a drop in video revenues in 2012 (-11.2% compared
to 2011) despite the success of certain titles, such as
Florence Foresti - Foresti Party, and the increase in Blu-ray
sales (+14.0% between 2011 and 2012). Non-feature films
represented 34.1% of the market (€381.2 million), compared
to 35.1% in 2011. Non-feature film revenue has decreased
by an average of 9.8% per year from 2008 to 2012. In 2012,
non-feature films represented 11.5% of Blu-ray format
sales (39.8% of DVD sales). The offering is less significant
than it is for feature films, and the users may feel that
high definition is less indispensable. In terms of volume,
non-feature film sales decreased by 6.3% to more than
53 million units sold in 2012 and were lower than feature
film sales for the fourth year in a row.
In revenue as well as in volume, cinema continues to
dominate the physical video media market. Feature films
totaled €691.7 million in receipts, i.e. 62.0% of the 2012
sales. This market share has been regularly increasing
since 2006 (52.5%). Supported by Blu-ray (+8.6% in value
between 2011 and 2012), revenues from feature films
nevertheless showed a drop of 8.2% compared to 2011.
In terms of volume, over 60°million video media sold
contained films in 2012, representing a decrease of 7.5%
from the previous year.
The revenue from promotional operations also increased
in 2012 (+8.2% compared to 2011) and represents 3.9%
of the sector’s revenue (3.3% in 2011).
C
The physical video market concentration in terms of films
appears structurally weak and variable from one year to the
other. In 2012, the top 10 video film sales represented 8.6%
of the entire film sales volumes (7.9% in 2011). The top 20
video film sales represented 12.7% of the total film sales
(12.5% in 2011) versus 16.0% for the top 30 (15.8% in 2011).
non-featurepromotional
films
films
operations2
non-featurepromotional
films
films
operations2
total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .650.52
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,958.82
................
2004 1,179.62
total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43.40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23.28
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132.11
............
2004 65.43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .685.63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95.32
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,784.18
................
2005 1,003.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53.25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.68
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143.41
............
2005 63.47
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .738.39
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50.34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,659.17
...............
2006 870.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11.65
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136.37
............
2006 59.62
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .663.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,494.13
................
2007 791.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65.49
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.11
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131.04
............
2007 58.43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .576.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,382.44
................
2008 772.56
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63.47
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.26
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128.18
............
2008 58.45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532.74
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43.24
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,384.39
................
2009 808.40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65.39
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.74
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140.87
............
2009 66.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .495.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40.83
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,385.42
................
2010 849.60
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64.66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144.13
............
2010 71.35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .429.27
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40.07
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,222.88
................
20113 753.55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.18
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128.76
............
20113 64.57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381.19
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43.36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,116.29
...............
2012 691.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53.39
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.81
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119.94
............
2012 59.74
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-11.2%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +8.2%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-8.7%
...........
evolution 12/11 -8.2%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -6.3%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-5.1%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-6.8%
...........
evolution 12/11 -7.5%
B
100%
80%
60%
B
Video revenue by content (millions of €)1
2
Promotional operations with no indication of title.
3
Updated data.
1
6.6
5.3
3.0
2.7
2.4
3.1
2.9
3.3
3.9
33.2
38.4
44.5
44.4
41.7
38.5
35.7
35.1
34.1
60.2
56.2
52.5
40%
53.0
55.9
58.4
61.3
61.6
62.0
2
3
Updated data.
top 10
top 20
top 30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.6
.......
2007 9.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.0
.......
2008 11.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.4
.......
2009 8.0
20%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17.8
.......
2010 9.7
0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15.8
.......
20111 7.9
2004
B
Home video sales by content (million units)1
1
2005
2006
2007
2008
2009
2010
20113
Breakdown of video revenue by content (%)1
films
non-feature films
promotional operations2
1
2
3
Updated data.
2012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16.0
.......
2012 8.6
C
Best physical video film sales
(% of total film sales volumes)
1
Updated data.
Source: GfK.
10
D
A French film at the top of video sales
In 2012, the market share of French films in the video market
represented 23.7% of revenue, compared to 21.6% in 2011.
It is the highest level since 2004, largely due to the sales
of The Intouchables. 14.2 million DVDs and Blu-ray discs
of French films were sold in 2012, compared to 15.0 million
in 2011 (-5.0%). French cinema generated €163.9 million
in revenue in 2012, an increase of 0.9% compared to the
previous year. It was the only market segment with increased
sales in 2012. French films only accounted for 11.7% of
revenue from Blu-ray sales in 2012, compared to 28.4%
of DVD sales.
As in 2011, four French films were among the twenty top
selling films on video in 2012. Among them was the market’s
best-seller, The Intouchables, followed by HOUBA! On the
Trail of the Marsupilami (10th in movie rankings), The Artist
(14th) and A Monster in Paris (17th).
New decrease in American film sales
Revenue from American films on video decreased by 4.5%
to €434.7 million in 2012. Their market share was 62.8%
(60.4% in 2011). In terms of volume, over 36 million DVDs
and Blu-ray discs of American films were sold in 2012
(-5.9% compared to 2011). American films accounted for
74.5% of revenue for Blu-ray film sales and for 58.3% of DVD
film sales.
In 2012, American films accounted for seven of the top ten
films on physical video (six in 2011). The Twilight Saga:
Breaking Dawn Part 1 ranked second in terms of revenue.
Avengers (3rd), Ice Age: Continental Drift (4th), The Dark
Knight Rises (5th), The Adventures of Tintin: The Secret of
the Unicorn (6th), Brave (8th) and Prometheus (9th) complete
the list of the year’s American bestsellers.
European film sales declining
In 2012, video revenue for non-French European films
decreased for the first time since 2009 (minus 35.0%
compared to 2011). The market share for European films
was 10.7%, compared to 15.1% in 2011. Only two non-French
European films appeared in the ranking of the twenty
bestselling films of 2012, both of which are British:
Harry Potter and the Deathly Hallows: Part 2, ranked 7th
in terms of revenue despite its release in 2011, and
Sherlock Holmes – A Game of Shadows, which ranked 19th.
In 2012, the market share of non-European, non-U.S. films
kept stable at 2.8% (3.0% in 2011), despite a decline of 14.1%
in related revenue.
European films1
10.6%
other films
2.7%
French films
28.4%
American films
58.3%
DVD
European films1
10.8%
other films
3.0%
French films
11.7%
American films
74.5%
Blu-ray
D
Breakdown of revenue for films
on DVD and Blu-ray Disc
by country of origin in 2012 (%)
1
Continental Europe (From the Atlantic to the Urals),
excluding France.
French American European
films
films
films2
other films
total
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719.00
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85.59
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,179.62
................
2004 253.37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .645.32
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70.28
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58.66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,003.23
................
2005 228.96
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .523.31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106.84
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41.60
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870.44
.............
2006 198.69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497.80
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78.67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32.65
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .791.20
............
2007 182.08
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .483.52
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93.29
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772.56
.............
2008 176.03
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519.31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22.16
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808.40
.............
2009 176.89
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .546.36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101.40
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20.68
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849.60
.............
2010 181.17
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455.14
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113.63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22.34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753.55
.............
20113 162.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .434.73
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73.88
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19.20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .691.73
............
2012 163.92
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -4.5%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-35.0%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-14.1%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-8.2%
...........
evolution 12/11 +0.9%
D
Revenue from films on video by country of origin (millions of €)1
1
2
Continental Europe (From the Atlantic to the Urals), excluding France.
3
Updated data.
10.3
100%
5.8
4.8
4.1
2.6
2.7
2.4
3.0
2.8
7.0
64.3
12.3
12.1
11.1
11.9
15.1
10.7
60.1
9.9
62.9
62.6
64.2
64.3
60.4
21.5
22.8
22.8
23.0
22.8
21.9
21.3
21.6
23.7
2004
2005
2006
2007
2008
2009
2010
2011
2012
7.3
61.0
80%
62.8
60%
40%
20%
0
D
Breakdown of revenue for films on video
by country of origin (%)1
French films
American films
European films2
other films
2
Continental Europe (From the Atlantic to the Urals), excluding France.
1
10
E
Non-feature films: new overall decrease but success
of some French fictions
For the second year in a row, sales decreased for all
segments of the market of non-feature films in 2012.
Receipts for fiction on video decreased by 7.3% to €206.0
million. Fiction remained the most widely-sold genre
in the segment and its market share among non-feature
films has increased like each since 2004 (54.1% in 2012,
compared to 30.1% in 2004). Receipts for French fiction
increased by 1.6% in 2012 (€23.5 million). French fiction
sales accounted for 11.4% of fiction revenue in general,
versus 10.4% in 2011. The top French fiction of 2012, Bref
– season 1, ranked 3rd in revenue among non-feature films.
Foreign fiction revenue decreased by 8.3%, to €182.5 million
in 2012. Although the market share of French fictions
increased for the third consecutive year, foreign works, most
notably American works, dominated the market, generating
88.6% of revenue for fiction on video (89.6% in 2011). The
first season of the series Game of Thrones ranked 6th in
terms of revenue for non-feature films. The fictions Set Up
and My Way, as well as season 1 of Homeland and Spartacus
and season 7 of Desperate Housewives, also contributed
to the success of American fiction in 2012.
In 2012, the children’s fiction and animated programs
segment ranked second among non-feature films,
accounting for 19.4% of sales in terms of revenue (20.0%
in 2011). The segment’s video sales decreased by 13.9%
compared to 2011, down to €73.9 million.
The bestselling titles in 2012 were American, and were
notably made up of titles targeting girls, such as Tinker Bell
and Tinker Bell and the Great Fairy Rescue (that appear in
the ranking of the twenty best-selling non-feature programs
of the past three years), Barbie in a Mermaid Tale 2 and
Barbie: The Princess and the Popstar. For three years, the
market share for French programs in animation and
children’s fiction has increased and in 2012 reached its
highest level since 2004, 20.9%. Nevertheless, revenue
for French programs in the segment decreased in 2012
(-11.8%) and was €15.5 million.
As in 2011, the «Music» segment was the non-feature film
segment that had the strongest decrease in 2012 (-29.7%).
However, it remained third in the non-feature film market
with 10.0% of revenue (12.6% in 2011). The market share
for French programs sharply decreased within this segment
(-7.4 points between 2011 and 2012) and reached 48.9%
in 2012. Like every year, this was due to very high DVD
sales of Les Enfoirés – 2012 – le bal des Enfoirés, ranked
2nd in revenue among non-feature films). It was the only
musical title appearing in the top twenty places in the
non-feature film ranking in 2012 (as opposed to 3 titles in
2011).
In fourth place, humor accounted for 9.4% of non-feature
film video receipts in 2012 (8.9% in 2011). With €36.0 million
in revenue, receipts in this segment dropped 6.4% compared
to 2011. The share of French comedians in the segment’s
video sales decreased by 4.9 points, but remains the large
majority (92.2% in 2012). Only the good results of Florence
Foresti (ranking 1st and 17th with her two shows) appeared
among the top twenty best-selling non-feature films in 2012.
The documentary remained a marginal genre in non-feature
film on video (5.6% of receipts in 2012). However, the
decrease in documentary sales slowed to -3.1% in 2012,
as opposed to an average of -6.7% annually since 2004.
French documentaries maintained a majority with 75.2%
of total takings for documentary in 2012 (80.0% in 2011).
Métronome ranked 5th in revenue among non-feature
programs.
F
3D Blu-ray appeals to more viewers
In France, not many homes are equipped with 3D-compatible
screens, with only 6% having one in 2012 according to GfK
(4% in 2011). However, with 1.05 million units in 2012, the
number of 3D Blu-rays sold increased by 78.8% compared
to 2011. This medium, released in 2010, represented 7.5%
of Blu-ray sales by volume in 2012 (4.7% in 2011), i.e. 0.9%
of total physical video media sales. In terms of value, 3D
Blu-ray represented 13.3% of Blu-ray revenue in 2012
and 2.7 % of the physical video media market (8.5% and
1.4% respectively in 2011). The average price of a 3D Blu-ray
disc was €28.3 in 2012, 4.8% less than in 2011. The majority
of 3D Blu-ray discs sold were American (82.5% of sales
in 2012) and only 6.2% of sales were French titles. Of the
ten best-selling 3D Blu-ray discs in 2012, nine were American
films, including one children’s film. Feature films represented
95.1% of 3D Blu-ray sales in 2012 with €28.3 million.
Among non-feature programs, documentaries topped sales
(48.3% of non-feature film sales, €0.7 million in 2012), ahead
of fiction (41.0%). Children’s and musical titles represented
9.7% and 1.1% of 3D non-feature program sales in 2012,
respectively (4.3% and 3.1% in 2011).
Complete results for the physical video market in 2011
were published in March 2012, in the CNC’s report no.
325, which is available online, at the following address:
www.cnc.fr.
documentarychildren fiction humor
music
other
total
. . . . . . . . . . . . . . . .41.91140.59195.78125.27
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131.19
. . . . . . . . . . . . . . . . . . . . . . . . . 15.78650.52
..................................
2004 . . . . . . . . . . . . . . . .33.72139.03
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247.25
. . . . . . . . . . . . . . . . . . . . . . . . 114.28138.44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12.90685.63
..................................
2005 documentarychildren fiction humor
music
other
total
. . . . . . . . . . . . . . . . . . 77.8
. . . . . . . . . . . . . . . . . . . . . . . . . . .9.115.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99.148.844.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41.6
.......
2004 . . . . . . . . . . . . . . . 42.96124.46
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317.44109.35130.75
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.43738.39
..................................
2006 . . . . . . . . . . . . . . . . . . 98.1
. . . . . . . . . . . . . . . . . . . . . . . . 17.016.998.848.384.342.2
...............................................................................................................................
2005 . . . . . . . . . . . . . . . 36.28108.74314.38
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83.17109.71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10.92663.20
..................................
2007 . . . . . . . . . . . . . . . . . .95.016.814.398.753.282.840.0
.......................................................................................................................................................
2006 . . . . . . . . . . . . . . . 30.26
. . . . . . . . . . . . . . . . . . . . . . 104.16283.96
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72.80
. . . . . . . . . . . . . . . . . . . . . . . . 73.69
. . . . . . . . . . . . . . . . . . . . . . . . .11.56576.44
.................................
2008 . . . . . . . . . . . . . . . . . .92.920.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.998.249.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81.135.0
...............................
2007 . . . . . . . . . . . . . . . 34.26101.08266.70
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50.19
. . . . . . . . . . . . . . . . . . . . . . . 71.54
. . . . . . . . . . . . . . . . . . . . . . . . . . .8.97532.74
...............................
2009 . . . . . . . . . . . . . . . . . .90.018.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.5
. . . . . . . . . . . . . . . . . . . . . .97.8
. . . . . . . . . . . . . . . . . . . . . . . .47.085.032.8
.......................................................
2008 . . . . . . . . . . . . . . . .25.62
. . . . . . . . . . . . . . . . . . . . . . . .97.03248.64
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42.93
. . . . . . . . . . . . . . . . . . . . . . . . 72.82
. . . . . . . . . . . . . . . . . . . . . . . . . . .7.96495.00
...............................
2010 . . . . . . . . . . . . . . . . . .85.218.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.598.952.483.831.5
.....................................................................................................
2009 . . . . . . . . . . . . . . . 22.09
. . . . . . . . . . . . . . . . . . . . . . . . 85.87222.23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38.40
. . . . . . . . . . . . . . . . . . . . . . . .54.01
. . . . . . . . . . . . . . . . . . . . . . . . . . .6.67429.27
...............................
20112 . . . . . . . . . . . . . . . . . .80.218.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.798.959.078.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31.1
.......
2010 . . . . . . . . . . . . . . . .21.39
. . . . . . . . . . . . . . . . . . . . . . . 73.90206.04
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35.95
. . . . . . . . . . . . . . . . . . . . . . . . .37.98
. . . . . . . . . . . . . . . . . . . . . . . . . 5.92
. . . . . . . . . . . . . . . . . . . . 381.19
............
2012 . . . . . . . . . . . . . . . . . .80.020.410.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97.156.372.230.8
...............................................................................
20112 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-7.3%
. . . . . . . . . . . . . . . . . . . . . . . -6.4%-29.7%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -11.2%-11.2%
.....................................
evolution 12/11 . . . . . . . . . . . . . . .-3.1%-13.9%
. . . . . . . . . . . . . . . . . .75.220.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.492.248.956.228.9
.......................................................................................................
2012 E
Revenue for non-feature films on video by genre (millions of €)1
² Updated data.
1
100%
90%
2.4
1.9
1.8
1.6
2.0
1.7
1.6
1.6
1.6
20.2
20.2
17.7
16.5
12.8
13.4
14.7
12.6
10.0
12.5
12.6
9.4
8.7
8.9
14.8
50.2
51.8
80%
19.3
70%
60%
30.1
50%
16.7
36.1
43.0
47.4
49.3
50.1
E
Market share of French non-feature films on video by genre (%)1
1
² Updated data.
9.4
54.1
40%
30%
21.6
20%
20.3
16.9
16.4
18.1
19.0
19.6
20.0
19.4
10%
2011 . . . . . . . . . . . . . . . . . . . .17.48
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0.5929.64
...................................
0
E
sales unitsaverage
(millions of €)
(million)
price (€)
6.4
4.9
5.8
5.5
5.3
6.4
5.2
5.1
5.6
2004
2005
2006
2007
2008
2009
2010
20112
2012
Breakdown of revenue for non-feature films
on video by genre (%)1
documentary
humor
music
children
. . . . . . . . . . . . . . . . . . . .29.81
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.0528.27
...................................
2012 . . . . . . . . . . . . . . . +70.5%+78.8%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -4.6%
...........
evolution 12/11 F
3D Blu-ray consumption
fiction
other
² Updated data.
1
The Chef by Daniel Cohen.
© Nicolas Schul / Gaumont.
Bienvenue à bord by Éric Lavaine. © Arnault Joubin / Pathé Distribution.
Hunger Games by Gary Ross. © Metropolitan FilmExport.
Avengers by John Whedon. © The Walt Disney Company France.
My Worst Nightmare by Anne Fontaine.
© Jérôme Prébois / Pathé Distribution.
Seeking Justice by Ronald Donalson. © SND.
Drive by Nicolas Winding Refn.
© Le Pacte / Wild Side.
12
11
les industries
techniques
Non-Physical
Video
Services
Pour la cinquième année, une évaluation économique du marché des industries techniques
The Twilight Saga: Breaking Dawn - Part 1 by Bill Condon. © SND.
In 2012, revenue from video on demand (VoD) was estimated at €251.7 million.
est proposée dans le bilan du secteur de l’audiovisuel et du cinéma.
With nearly 11,000 available films, more and more people are taking advantage of VoD.
Ces résultats et analyses sont établis à partir de données
During the year, 2.5 billion videos were viewed via catch-up TV.
fournies par la Ficam (Fédération des industries du cinéma, de l’audiovisuel et du multimédia).
67.2% of Internet goers used catch-up TV in 2012.
Les industries techniques réalisent un chiffre d’affaires de 1,15 Md€ en 2009,
en baisse de 6,6 % par rapport à l’année précédente.
Underworld: Awakening by Mans Marlind et Björn Stein. ©SND.
Love Lasts Three Years by Frédéric Beigdeder. © Magali Bragard / 2011 The Film /
AKN Productions / EuropaCorp/France 2 Cinéma / Scope Pictures.
11
Non-Physical Video Services
VIDEO ON DEMAND (VoD)
The video on demand (VoD) market has been growing
since 2007. In February 2013, 75 active VoD service
providers were listed in France. The number of VoD
providers goes beyond HSPs for VoD services, catch-up
TV services, and platforms specializing in adult films or
programming. If services are accessible through several
means of access or on several websites under a generic
brand, they are only counted once. The composition of
a publisher’s catalog can vary depending on its mode
of distribution.
A
Paid VoD: a market worth over €250 million
According to the NPA-GfK measurements,
total revenue for paid VoD in France (one-time payments
+ subscriptions) was estimated at €251.7 million in 2012,
an increase of 14.7% compared to 2011. The growth
of the VoD market slowed very significantly (+44.4%
between 2010 and 2011 and +56.6% between 2009 and
2010). One-time payment remained the huge majority,
representing 89.3% of total revenue (90.7% in 2011),
compared to 10.7% for subscription plans (9.3% in 2011).
Paid VoD revenue from one-time payments alone increased
to €224.9 million (+12.9%). This increase has meant
a 15.8% growth in the volume of one-time payment
transactions (43.4 million in 2012, compared to 37.5 million
in 2011). The increase in earnings is, however,
less rapid than the growth in volume: the average price
per transaction dropped by 2.4% to €5.18 in 2012
(€5.31 in 2011).
Television sets remained the primary means for watching
paid VoD content. In 2012, 77.0% of one-time paid VoD
transactions were made on IPTV (78.1% in 2011),
generating 68.7% of total revenue (68.1% in 2011).
Between 2011 and 2012, paid IPTV transactions
increased by 14.2% in volume and by 14.0% in revenue.
During the same time period, one-time paid transactions
on the Internet via computers increased by 21.4% in
volume and by 10.7% in revenue.
300
+14.7%
250
+44.4%
219.47
200
150
+82.5%
100
50
0
+84.2%
53.20
28.88
2007
A
2008
251.68
+56.6%
152.01
97.07
2009
2010
2011
Estimation of total paid VoD revenue
Source: GfK – NPA Conseil.
Change between the two years.
2012
More than 54,000 programs available in 2012
Methodology
Every month, GfK counts the total number of videos
sold or rented on the platforms that are most
representative of the paid VoD market in France.
The 100% for the sector is calculated based on
the following coverage rates:
1st semester 2012
2nd semester 2012
IPTV
one-time rental 98%97%
.................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15%
.......
one-time sale 15%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36%
........
subscription 45%
computer .................................................................................
Nearly 11,000 films available in VoD in 2012
The number of films available via video on demand
is constantly growing. In 2012, 10,713 films were
downloaded at least once on one of the main VoD
platforms, an increase of 17.9% from 2011
(1,628 additional titles).
Among feature films, there was little change in the share
of films from different countries in 2012. American films
made up nearly half (45.2%) of the available content
(4,844 titles, i.e. an increase of 13.7%), ahead of French
films, which accounted for 27.4% of all films (2,930 titles,
+18.1%), non-French European films (1,741 titles, i.e.
16.3% of the total and an increase of 33.2%) and non
European, non-American films (1,198 titles, i.e. 11.2% of
the total and +15.5% compared to 2011).
B
An average concentration of feature film consumption
Higher VoD consumption was not simply the result of
a few well-performing films, it was also an indication
of a healthy overall market. Thus, film concentration was
average. In 2012, the ten best-selling feature films in VoD
accounted for 11.4% of one-time transactions for films
(rentals and sales), compared to 9.2% in 2011 and 12.0%
in 2007. The 30°bestselling titles accounted for around
25.5% of total transaction volume in 2012, compared
to 20.8% in 2011 and 25.2% in 2007.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30%
........
one-time rental 33%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,5%
.........
one-time sale 1,5%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4%
.....
subscription 48%
In 2012, the number of active titles on on-demand video
(programs downloaded at least once during the period)
on the platforms of the panel increased considerably.
According to the data collected, 54,177 titles were
available in 2012, i.e. 12,497 more than in 2011 (+30.0%).
The selection of VoD was largely dominated by television
programs, which accounted for 50.9% of available titles
in 2012 (50.4% in 2011), compared to 29.3% for adult
programs (27.8% in 2011) and 19.8% for feature films
(21.8% in 2011).
Among the 54,177 titles available in 2012, 72.2% were
available through just one platform of the panel
(70.6% in 2011), compared to 18.4% available on two
or three platforms (19.6%) and 9.3% on four or more
platforms (9.8%).
An analysis by genre shows that there is much more
exclusivity for television programs (88.6% of titles were
available on only one platform of the panel in 2012) than
for adult programming (67.5%) and feature films (36.9%).
2007 top 10
top 20
top 30
12.019.325.2
...................................................
. . . . .11.118.424.2
..............................................
2008 . . . . . . 8.714.018.6
.............................................
2009 . . . . . . . . . . . . . . . . . . . . . . . . 17.923.5
...........................
2010 10.2
. . . . . . 9.215.520.8
.............................................
2011 . . . . 11.419.325.5
...............................................
2012 B
Results for best-performing feature films in VoD
(% of total one-time transactions for films)
Source: GfK – NPA Conseil / panel of platforms.
11
C
Feature films generated over 73%
of one-time VoD revenue
In 2012, feature films continued to account for a large
part of the revenue from one-time VoD transactions.
The genre accounted for 72.8% of the panel revenue
(67.5% in 2011), compared to 5.9% for television (6.6% in
2011) and 21.3% for adult programs (25.9% in 2011).
American films represented 54.6% of one-time VoD
transactions for feature films in 2012 (56.4% in 2011),
compared to French films at 34.7% (29.5% in 2011) and
non-French, non-American films at 10.7% (14.1% in 2011).
The increase in market share volume for French films
was due in particular to the high revenues achieved by
The Intouchables, Hollywoo and What’s in a Name.
Television series and fiction accounted for 59.7%
of TV revenue in VoD in 2012 (excluding films and adult
programming), compared to 53.3% in 2011. The increase
in market share for this genre occurred at the expense
of the other television program genres. The share of
documentaries dropped to 7.6% in 2012 (9.0% in 2011),
that of musical programs to 5.1% (6.2%), that of humor
programs to 15.8% (16.8%), and the share of youth
programs to 9.2% (10.1%).
Youth programs include fictions and animated programs
targeting children. Animated programs accounted for
92.6% of youth program revenue. Within this segment,
39.1% of earnings were generated from French programs
in 2012 (27.2% in 2011), compared to 26.4% from
Asian programs (36.7% in 2011), 22.2% from American
programs (21.1% in 2011), 11.3% from non-French
European programs (12.5%) and 0.9% from programs of
other nationalities (2.5% in 2011).
American productions dominated the market for TV
series and fiction in VoD. They accounted for 85.7% of
revenue in the genre in 2012 (87.1% in 2011), compared
to 11.6% from French productions (10.1% in 2011),
2.4% from non-French European productions (2.3% in 2011)
and 0.3% from other productions (0.4% in 2011).
2012
72.8
67.5
2011
2010
63.4
2009
63.4
0 %
10 %
20 %
30 %
4.7
television
27.2
31.8
37.2
5.1
30.0
7.1
40 %
50 %
60 %
One-time VoD revenue breakdown by genre (%)
film
25.9
9.3
63.0
2007
21.3
6.6
57.7
2008
C
5.9
adult programs
Source: GfK – NPA Conseil / panel of platforms.
70 %
80 %
90 %
100 %
D
VoD in France
Television remained the preferred medium for
consumption of paid VoD services. In 2012, 24.8% of
Internet user had already paid to watch a program in VoD
on IPTV (22.4% in 2011), 8.4% on their computers (8.0%)
and 1.8% on a mobile device (1.0%). The difference
between television and computers increased compared
to 2011. While the difference was 14.4°points in favor of
IPTV in 2011 (9.2 points in 2010), it rose to 16.4 points in
2012.
Methodology
The following data were drawn from measurements
on Internet users’ practices with regard to VoD taken
by the CNC. This survey was administered online by
Harris Interactive to 15,000 individuals over the age of
15 (13 successive waves per year).
An ever-growing public is taking advantage of VoD,
thanks to the development of multi-service offers.
In 2012, the majority of paid VoD users were men
(52.1% of VoD users), aged between 35°and 49°(33.0%)
and belonging to the higher socio-professional
categories (45.4%).
In 2012, 28.9% of Internet users consumed paid VoD.
Paid VoD was more popular among men (30.1% of male
Internet users), residents of Paris and its surrounding
regions, (31.7%), the upper socio-professional category
(35.4%) and the 25-34 age bracket (39.1%).
35%
30%
25%
22.4
20%
15%
28.9
26.7
18.5
24.8
22.4
17.6
13.6
10%
8.4
7.7
5%
1.8
1.0
0%
2010
2009
D
8.4
8.0
2011
2012
Penetration rate for paid VoD by medium
(% of Internet users)
total
IPTV
computer
mobile
Source: CNC – Harris Interactive, 15 years and older.
11
CATCH-UP TV
Catch-up TV is part of a set of services allowing people
to watch programs after they have been broadcast on
a television channel, usually for a limited time, either
for free or at no additional cost with a subscription.
In 2012, the spread of catch-up TV services continued.
The number of catch-up TV services increased on the
different screens (computers, television sets and mobile
screens), but the selection remained different depending
on the device. In February 2013, over 60 services were
available on television screens. Television channels have
also expanded their catalogue of programs available
to the public via catch-up TV. In 2012, the selection of
programs across all free national channels available via
catch-up TV online was up to 13,200 hours on average
per month. The catch-up TV selection increased by
25.3% compared to 2011.
E
59% of national channels’ programs available on
catch-up TV
Methodology
The share of programs made available by television
channels through catch-up TV on the Internet is
calculated in hourly volume by TV-replay.fr for the CNC.
The analysis is carried out every six months, during the
same week (the week of May 19-25th for May 2012,
and the week of November 19-25th for November 2012).
All programs broadcast during those weeks between
5:00 pm and midnight are monitored to determine
whether they are available through catch-up TV online.
MaY Nov.MayNov.
2011 201120122012
TF1 . . . . . . . . . .87
. . . . . . . . . . . . . . . . . . . .738185
.......................................
. . . . . . . . . .80
. . . . . . . . . . . . . . . . . . . .898390
.......................................
France 2 . . . . . . . . . .86
. . . . . . . . . . . . . . . . . . . .818587
.......................................
France 3 In November 2012, 59% of programs broadcast between
5:00 pm and midnight on national channels (traditional
FTA or DTT) were available via catch-up TV on the Internet.
The share of programs available on catch-up TV varied
greatly between channels, particularly between traditional
FTA channels and DTT channels. The share of programs
made available on catch-up TV by traditional FTA channels
seems to have reached a ceiling. In November 2012, 84%
of programs broadcast between 5:00 pm and midnight on
traditional national FTA channels (TF1, France 2,
France 3, unscrambled Canal+, France 5, M6 and Arte)
were available via catch-up TV online. This share
remained steady from the two previous analyses
(November 2011 and May 2012). Meanwhile, 44% of
programs broadcast between 5:00°pm and midnight
on free DTT channels were available via catch-up TV
on the Internet. This proportion increased by 5 points
compared to November 2011. The share of available
programs remained very inconsistent across channels,
with the difference between the highest and lowest
shares reaching 46 points in November 2012. Four DTT
channels proposed more than half of their programs
on catch-up TV online (D8, France Ô, NRJ12 and LCP
Assemblée Nationale - Public Sénat). NRJ12 (+13 points),
D8 (+14 points) and Gulli (+19 points) recorded the most
significant increases since November 2011.
. . . . . . . . . .73
. . . . . . . . . . . . . . . . . . . .767674
.......................................
Canal+ (unscrambled) . . . . . . . . . .81
. . . . . . . . . . . . . . . . . . . .878387
.......................................
France 5 . . . . . . . . . .85
. . . . . . . . . . . . . . . . . . . .918782
.......................................
M6 . . . . . . . . . .63
. . . . . . . . . . . . . . . . . . . .858076
.......................................
Arte . . . . . . . . . .80
. . . . . . . . . . . . . . . . . . . 848384
........................................
traditional FTA . . . . . . . . . .68
. . . . . . . . . . . . . . . . . . . 403754
........................................
Direct 8/D8 . . . . . . . . . .56
. . . . . . . . . . . . . . . . . . . .314334
.......................................
W9 . . . . . . . . . .17
. . . . . . . . . . . . . . . . . . . .291633
.......................................
TMC . . . . . . . . . .14
. . . . . . . . . . . . . . . . . . . .231223
.......................................
NT1 . . . . . . . . . .36
. . . . . . . . . . . . . . . . . . . 485761
........................................
NRJ12 . . . . . . . . . .64
. . . . . . . . . . . . . . . . . . . 644669
........................................
LCP AN - Public Sénat . . . . . . . . . .24
. . . . . . . . . . . . . . . . . . . .281928
.......................................
France 4 . . . . . . . . . .47
. . . . . . . . . . . . . . . . . . . .415738
.......................................
Direct Star/D17 . . . . . . . . . .23
. . . . . . . . . . . . . . . . . . . .252344
.......................................
Gulli . . . . . . . . . .39
. . . . . . . . . . . . . . . . . . . .628757
.......................................
France Ô . . . . . . . . . .39
. . . . . . . . . . . . . . . . . . . .394044
.......................................
DTT channels . . . . . . . . . .55
. . . . . . . . . . . . . . . . . . . 565659
........................................
total E
Share of programs
available via catch-up
TV online 1 (%)
1
Programs broadcast between
5:00 pm and midnight.
Source : CNC / TV-replay.fr.
F
13,200 hours of programs available each month
Methodology
The study on catch-up TV availability, which has been
conducted by TV-replay.fr for the CNC since October
2010, presents the selection of programs from 22 free
national television channels (TF1, France 2, France 3,
unscrambled Canal+, France 5, M6, Arte, D8, W9, TMC,
NT1, NRJ12, LCP Assemblée Nationale, Public Sénat,
France°4, D17, France Ô, HD1, 6ter, RMC Découverte
and Chérie 25) available via catch-up TV on the Internet
in number of videos and hourly volume.
In 2012, the selection of free national TV channel
programs available via catch-up TV on the Internet was
greater than 49,000 videos per month on average, i.e., an
average monthly hourly volume of more than 13,200 hours.
The selection increased by 25.3% compared to 2011.
However, it stabilized in 2012 after a major increase
between January and December 2011.
The breakdown of the selection by duration of availability
remained steady. In 2012, 31.9% of catch-up TV was available
for 0 to 7 days (an average of 4,200 hours per month).
63.8% of programs were available for over 30 days
(an average of 8,400 hours per month).
In 2012, the selection of catch-up TV online increased by
27.1% compared to 2011 for FTA channels and by 23.0%
for DTT channels. FTA channels proposed more than
half of the total selection (56.1% in 2012). Among these
channels, TF1 had the highest hourly volume, ahead of
France 2 and France 3.
2.5 billion videos viewed via catch-up TV in 2012
20112012
.........................
0 to 7 days . . . .32.031.9
. . . . . . .1.91.7
......................
8 to 14 days . . . . . . 2.72.6
.......................
15 to 30 days .........................
over 30 days . . . .63.363.8
............................
total . 100.0100.0
F
Average monthly selection of
catch-up TV by length of
availability in 2012
Source: CNC / TV-replay.fr.
15,000
10,000
13,203
10,539
5,000
0
2011
F
2012
Average monthly selection
of catch-up TV online (hours)
Source: CNC / TV-replay.fr.
In 2012, repeat programming made up 12.0% of the
catch-up TV selection (13.3% in 2011), where 6.1%
were fictions (6.9% in 2011), 3.2% were documentaries
(3.0% in 2011) and 2.6% were animations (3.1% in 2011).
In 2012, the fiction selection of free national channels
available via catch-up TV online was largely French
(41.7% of the hourly volume). American fiction made up
37.1% of the fiction selection on catch-up TV. The share
of French fiction increased by 6.3 points compared to
2011, while the share of American fiction dropped by
5.8 points.
Methodology
The analysis of consumption, in number of videos
viewed, has been conducted since January 2011 per
the CNC’s request by NPA Conseil and GfK, associated
with Canal+ Régie, France Télévisions Publicité,
M6 Publicité Digital and TF1 Publicité Digital based on
operators’ data. In 2011, the barometer consisted of
results from 14 channels, including the six traditional
FTA channels: Canal+, i>Télé for the Canal+ group; 1ère,
France 2, France 3, France 4, France 5, France Ô for the
France Télévisions group; M6, W9, Paris Première, Teva
for the M6 group; TF1, LCI for the TF1 group. In 2012,
the consumption analysis included results from
channels TMC and NT1 beginning in January, and from
D8 and D17 beginning in October. At the end of 2012,
the measurements thus included the results from
18 channels.
In 2012, 2.5 billion videos were viewed via catch-up TV,
compared to 1.8 billion in 2011. 6.9 million videos were
viewed on average every day via catch-up TV.
Consumption of online television, which included
catch-up TV as well as bonuses and consumption of
the channels’ live media other than television, accounted
for 3 billion videos viewed in 2012. Catch-up TV accounted
for 83.6% of television viewing online. Live one-time
programs (10.6%) and bonuses (5.8%) made up a minority
of the viewing.
11
G
Online television consumption increased for all three
types of viewing device studied. In 2012, 1,766.5 million
videos were viewed on a computer (1,486.7 million in 2011),
861.6 million on a television screen (488.4 million in 2011)
and 399.4 million on a mobile or a tablet (118.2 million in
2011). While computers remained the main device used
for online television consumption, its share of the total
decreased (58.3% in 2012, compared to 71.0% in 2011)
due to the strong increase of consumption on the other
devices. In 2012, television screens accounted for 28.5%
of total consumption (23.3% in 2011). Usage of mobile
devices (mobile phones and tablets) increased rapidly,
accounting for 13.2% of videos viewed in 2012, versus
5.6% in 2011.
H
In 2012, the three main genres of online television in
terms of consumption were entertainment (31.0% of
videos watched), fiction (29.5%) and news (9.0%).
Youth programs (animation and others programs)
accounted for 4.2% of total consumption. The selection
of films on catch-up TV was very small, with the exception
of programs reserved for Canal+ subscribers, so
consumption was low (2.5%). Documentaries were the
least-watched genre (1.7%). Fiction, youth programs,
films and documentaries accounted for 37.8% of total
consumption (33.1% in 2011). The online programs with
the highest viewership were generally those of television
programming.
In 2012, French fictions accounted for 45.0% of monthly
online television viewership for the five television groups
that participated in the survey (TF1, France Télévisions,
Canal+, M6, TMC/NT1). French fiction greatly surpassed
foreign fiction, which garnered 13.3% of viewership.
100%
5.6
23.3
75%
13.2
28.5
50%
25%
71.0
58.3
2011
2012
0%
G
Online television viewing
by device 1 (%)
mobile and tablet
television
computer
In number of videos viewed.
Source: NPA Conseil – GfK – Canal+ Régie
France Télévisions Publicité – M6 Publicité Digital
TF1 Publicité Digital – TMC Régie.
1
2.5
1.7 2.3
2012
2,0
26,1
0 %
31.0
4.2
8.2
3,5
8,4
10%
20%
30%
34,4
40%
50%
60%
70%
cinema
youth
fiction
magazine
documentary
information
sport
entertainment
live streaming
other
In number of videos viewed.
Source : NPA Conseil – GfK – Canal+ Régie – France Télévisions Publicité
M6 Publicité Digital – TF1 Publicité Digital – TMC Régie.
10.6
1.2
3,7
Online television consumption by genre 1 (%)
1
9.0
1,5
2011
H
1.1
29.5
13.3
80%
90%
5.9
100%
67.2% of Internet users watched catch-up TV
Methodology
Catch-up TV audiences and their habits have been
monitored since October 2010 by an online survey
conducted by Harris Interactive for the CNC, surveying
1,200 Internet users aged 15 and over every month.
Consumption of programs via catch-up TV is
a widespread practice among Internet users.
67.2% of Internet users aged 15 and over surveyed in
2012 said they had watched catch-up TV in the previous
12°months, compared to 60.5% in 2012. Usage is growing
steadily. During the last quarter of 2012, 69.8% of
Internet users said they had watched catch-up TV,
compared to 63.7% one year earlier. In 2012, more
women (51.4%) watched programs via catch-up TV than
men (48.6%). The majority of Internet users under the age
of 50 had watched catch-up TV. Penetration decreased
with age: catch-up TV reached 78.1% of Internet users
aged 15-24, 76.9% aged°25-34, 65.4% aged 35-49 and
49.6% aged°50 and over.
I
Catch-up TV usage is increasing: the share of intensive
users (those who watch programs at least once per day)
and frequent users (at least once per week but less than
once per day) is on the rise, while the share of regular
users (at least once per month but less than once per
week) and occasional users (less than once per month)
is decreasing. In 2012, 41.9% of users watched catch-up
TV at least once per week, compared to 37.5% in 2011.
The share of daily users remained low, but did increase
(+1.9 point to 7.9% in 2012). The 15-24 age bracket
represented nearly half of all daily catch-up TV users
(44.8%). 34.0% of those who used catch-up TV services
were frequent users (+2.5 points compared to 2011),
28.5% were regulars (-1.2 points) and 29.6% were
occasional users (-3.2 points).
Revenue from catch-up TV
Access to catch-up TV services via FTA channels was
free to the public and generally included in the
subscription (at no extra charge) for pay channels.
Free catch-up TV services primarily garnered two types
of revenue: revenue from advertising (included in the
videos and on the service portals) and compensation
from distributors who make these services publicly
available (Orange, SFR, etc.). A third type of revenue can
be identified as well: paid access for the public. Free
offers a «priority pass» (€0.99/evening or €3.99/month)
for access to its Freebox Replay portal, which includes
all the channels available through catch-up TV between
7:00 pm and 10:00 pm, in case the service becomes
overloaded. In 2012, advertising revenue for catch-up TV
was estimated at €45.0°million, compared to €30.0 million
in 2011.
Full results for the video on demand and catch-up TV
markets were published in March 2013 in CNC Report
no. 325, available online at www.cnc.fr.
100%
32.8
29.6
29.7
28.5
31.5
34.0
75%
50%
25%
0%
I
6.0
7.9
2011
2012
Habits of the
catch-up TV-watching public 1
intensive
regular
frequent
occasional
1
Internet-goers using catch-up TV in the last 12 months
(age 15 and over).
Intensive users: at least once per day; frequent:
at least once per week but less than once per day;
regular: at least once per month but less than once per week;
occasional: less frequent.
Source: CNC - Harris Interactive.
Granny’s Funeral by Bruno Podalydès. © Anne-Françoise Brillot / Why Not Productions / UCG Distribution.
The Other Son by Lorraine Levy. © Haut et Court.
Intersections by David Marconi. © Julian Torrès / EuropaCorp / Grive Productions.
One Night by Lucas Belvaux. © Kris Dewitte / Diaphana Distribution.
Des gens qui s’embrassent by Danièle Thompson.
© Émilie de la Hosseraye / Pathé Distribution.
Capital by Costa-Gavras. © Mars Distribution.
Mood Indigo by Michel Gondry.
12
Technical Services Sectors
Based on data provided by FICAM
(Fédération des industries du cinéma, de l’audiovisuel et du multimédia),
an economic appraisal of the technical services market is provided in this report.
Revenue for the technical services sector was €1.16 billion in 2011,
a decrease of 1.8% from the previous year.
Les Gamins by Anthony Marciano.
© Nicolas Guiraud / Peopleforcinema
Productions / Légende Films / Gaumont.
Télé Gaucho by Michel Leclerc. © Michael Crotto / UGC Distribution.
Possessions by Alain Guirado.
© Thierry Ozil / UGC Distribution.
12
Presentation of the technical services sector
Technical services companies are essential for the creation,
production, and broadcasting of works in film and television.
They provide the media for storing new works (film, cassette,
hard drive, data management), equipment for filming
(shooting, sound recording, machinery, lighting, etc.) and
facilities equipped for filming (studios). They also provide
the resources for modifying images required by the narrative
(post-production and special effects) and reproducing
original works for distribution (silver copies, laboratory
processing, duplication, digital copies - DCP). Finally, they
provide the equipment for projecting films in movie theaters,
broadcasting them on television or streaming them on
the Internet, and the necessary tools for preserving works
(digitization, archiving, storage).
Thus, technical services companies include:
_ manufacturers, including manufacturers of equipment
(equipment required for production) and manufacturers
or distributors of film media intended for shooting,
postproduction, printing copies and theater projection;
_ filming service providers, including equipment rental
companies (cameras, lenses, cranes, lighting, sound desks,
boom microphones, etc), mobile control rooms (mobile
studios equipped particularly for the retransmission of
TV events) and filming studios (image recording stage
and special effects);
_ image post-producers who carry out all finishing for works
after they are (editing, visual effects, calibrating, subtitling);
_ sound post-producers, who are involved in editing the
soundtrack for the images, using sounds recorded during
shooting or reproduced in a studio (auditorium) and, for
international versions, providing dubbing;
_ companies specializing in the restoration of works
(deletion or reduction of flaws in works damaged over time),
archiving or storage (film storage and preservation of digital
data).
_ laboratories that are involved in different development
phases of a film, from shooting to finishing. This includes
production laboratories (development of film rushes),
post-production laboratories, and duplication
laboratories (for printing copies);
The technical industries segment counts nearly
800 companies in France.
Methodology
The data in this chapter were collected and analyzed
by FICAM (Fédération des industries du cinéma,
de l’audiovisuel et du multimédia), an organization that
encompasses over 180 companies that work in all technical
trades and specialties in the realm of image and sound
for recorded entertainment. Member companies represent
over 70% of all revenue reported by technical services
companies.
Every year, the managers of FICAM member companies
provide economic and social data. This information,
enriched with public data, enriched with public data
is analyzed by FICAM in order to identify the general
trends in the sector.
To make up the sample used to study the sector, a selection
of FICAM members was made on July 1, 2012 (a panel
of 109 companies that had provided workable data over
several years). It should be clarified that unless specifically
mentioned, each company is considered independent
of its membership in any group.
A
€1.16 billion in revenue for 2011
To evaluate the overall revenue of the technical services
sector, only companies earning over 50% of their revenue
in the field of technical services are considered here.
Revenue for the technical services sector was evaluated
at €1.16 billion in 2011, down by 1.8% compared to 2010.
In the scope of the companies considered in the analysis
of the sector, i.e. the 109 companies that provided usable
data over the course of multiple years, a slight increase
occurred in technical services revenue between 2009
and 2010 (+2.3%, the same change seen with the FICAM
member companies). This development is explained by two
main factors. Firstly, an international tax rebate was
established in December 2009 to encourage the shooting
of foreign audiovisual and cinematographic productions
in France. For the 58 approved international tax credit
projects since December 2009, the plan has generated
€246 million of direct spending in France. A significant part
of this spending has gone toward technical personnel and
services. Secondly, revival of production in the feature-length
film sector benefited the technical services industry in 2010:
the number of French-initiative fictions as well as investment
in film production greatly increased.
In the same scope of the 109 FICAM member companies
considered in the study, a 6.7% decrease in revenue was
observed in the technical services sector between 2010
and 2011, reaching its lowest level since 2004. There are
multiple explanations for this phenomenon: the accelerated
decline of the photochemical industry and of 35mm printing
in laboratories, begun in 2008 and heightened in 2011
(around €70 million in losses between 2010 and 2011);
the large shift toward digital shooting formats;
the compulsory liquidation of Quinta Industries at the end
of 2011; the credit crisis; the decrease in feature-length
film production; and the increased relocation of the
shooting of high-budget films.
The average revenue of FICAM member companies fell
from €7.4 million in 2006 to €6.3 million in 2011.
B
Mid-sized companies
According to the results of a study done by FICAM, more
than 80% of companies in the technical services sector
had revenue of less than €10 million in 2011, as in previous
years. Most of these companies have revenue between
€1 and €5 million (47.7% in 2011). Many sound and image
post-producers are included in this category.
Individually, very few companies have revenue that is
higher than €50 million. However, when taken together,
the first three companies accounted for over €50 million
in revenue, each employing between 200 and 500 employees
in 2011. In 2011, companies generating over €10 million
in sales bring in 60.6% of total sales in the technical
industries.
41.3% of companies employ between 1 and 9 permanent
employees in 2011 (37.6% in 2010) and 45.0% have
10 to 49 employees (46.8% in 2010). Companies in this
sector are of modest size. However, on average these
companies are larger than all national firms: the statistics
concerning the entire industry, business and services
sector in France show that 83.2% of companies employ
between 1 and 9 people and 14.0% have 10 to 49 employees
(source: INSEE on January 1st, 2011 excluding agricultural
and financial firms). As concerns the services sub-sector
more generally, the breakdown of companies reveal
a more important part of small structures as 96.5% of them
employ 1 to 9 people.
technical
servicesresponding
providers1 evolutioncompanies 2
evolution
. . . . . . . . . . . . . .1,230
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-3.1%-..............................................................................
2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
2003 1,170-4.9%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .718.3+7.4%
...........................................
2004 1,190+1.7%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776.0+8.0%
............................................
2005 1,250+5.0%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803.5+3.5%
............................................
2006 1,261+0.9%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805.0+0.2%
............................................
2007 1,307+3.6%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -5.7%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-0.9%
...........
2008 1,233
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729.0-8.6%
............................................
2009 1,151-6.7%
. . . . . . . . . . . . . . 1,177+2.3%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745.6+2.3%
............................................
2010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-1.8%
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695.0-6.7%
............................................
2011 1,155
A
Technical services sector revenue (in million of €)
1
FICAM member companies, which make up about 70% of the total
revenue of the technical services sector. To evaluate the overall
revenue of the technical services sector, only companies earning over
50% of their revenue in the field of technical services were considered.
2
Companies that provided complete information: 101 in 2004 and
109 between 2005 and 2011.
Source: FICAM.
200420052006200720082009 2010 2011
. . . . . . . .1922252129242322
.................................................................................................................................
less than €1 million . . . . . . . .4752474848535152
.................................................................................................................................
€1 and €5 million . . . . . . . .1514171915141519
.................................................................................................................................
€5 and €10 million . . . . . . . .10101211
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91010
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
.
€10 and €20 million . . . . . . . . . . . . . . . . . . . . . . . . . .118
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1088
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
......................
over €20 million 10
. . . . . 101109109109109109109109
....................................................................................................................................
total B
Number of companies, by revenue
Scope: companies that provided complete information from 2004 to 2011.
Source: FICAM.
200420052006200720082009 2010 2011
1 to 9 employees 3842385141474145
.........................................................................................................................................
. . . . . . . .4853564454475149
.................................................................................................................................
10 to 49 employees . . . . . . . . . .86768987
...............................................................................................................................
50 to 99 employees . . . . . . . . . .78886698
...............................................................................................................................
100 employees or more . . . . . 101109109109109109109109
....................................................................................................................................
total B
Number of companies, by size of permanent workforce
Source: FICAM.
12
C
Filming activities, main sources of revenue
In order to evaluate the contribution of each sub-sector
within the technical services sector to the total receipts
of the field, the revenue of each company was divided
between the different services that it provides.
The overall revenue from filming activities (manufacturers,
film studios, shooting rental and mobile video filming)
recorded a 5.0% increase in 2011. This increase is notably
due to studios / sets, but above all mobile video, which has
reached a level close to that of 2009 due to the development
of thematic channels and the growing demand for one-off
programs. It should be noted that the 22.5% decrease
in revenue of manufacturers of film and equipment is due
in large part to the latter activity. Overall, filming activities
contributed up to 44.5% of the total revenue of technical
service providers in 2011 (39.5% in 2010).
Overall, post-production activities accounted for 43.1%
of the total revenue of technical service providers in 2011
(46.3% in 2010).
Image post-production is the source of 17.1% of the overall
revenue (17.7% in 2010). Its receipts decreased by 9.6%
compared to 2010. Image post-production is suffering
the effects of dematerialization and relocation.
In 2011, laboratory activity showed a 45.1% decrease in
revenue compared to 2010, where it was recorded at 10.8%
for 2009 to 2010. This drop is primarily due to the liquidation
of Scanlab, a subsidiary of the Quinta Industries group,
but also more generally due to the acceleration of digitization
of cinemas which strongly impacts the activity of 35 mm
printing. Laboratories accounted for 7.2% of the total revenue
of technical service providers in 2011, versus 12.4% in 2010.
The activity level of dubbing and subtitling companies
(+13.9%) is carried by a rise in the broadcasting of foreign
television series and by the increasing market for subtitling
and audio description.
2004 2005 2006 2007 2008 2009 20102011
. . . . . . . . . . . . . . . . . . 147.4
. . . . . . . . . . . . . . . . . .132.5
. . . . . . . . . . . . . . . . . .141.0
. . . . . . . . . . . . . . . . . .131.2
. . . . . . . . . . . . . . . . . 125.3
. . . . . . . . . . . . . . . . . . .131.7119.0
.........................
image post-production . .133.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37.7
. . . . . . . . . . . . . . . 35.2
........
sound post-production . . . .33.635.943.748.543.743.0
. . . . . . . . . . . . . . . . . . 55.1
. . . . . . . . . . . . . . . . . .61.3
. . . . . . . . . . . . . . . . . . 67.0
. . . . . . . . . . . . . . . . . .81.0
. . . . . . . . . . . . . . . . . .79.5
. . . . . . . . . . . . . . . . . .83.795.4
.......................
dubbing and subtitling1 . . . .50.3
. . . . . . . . . . . . . . . . . . . . . . 27.74.05.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.76.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12.0
. . . . . . . . . . . . . . . .14.2
.......
broadcasting 24.7
. . . . . . . . . . . . . . . . . .54.6
. . . . . . . . . . . . . . . . . .99.7106.7120.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74.0
. . . . . . . . . . . . . . . . . .82.596.3
.......................
shooting-studio . . . . 61.9
. . . . . . . . . . . . . . . . . .63.4
. . . . . . . . . . . . . . . . . . 71.0
. . . . . . . . . . . . . . . . . .78.6
. . . . . . . . . . . . . . . . . .63.0
. . . . . . . . . . . . . . . . . .59.5
. . . . . . . . . . . . . . . . . .92.083.0
.......................
shooting-rental . . . .64.2
shooting-mobile video 94.6 123.4
72.0
78.0
91.0 109.8
89.0106.0
.......................................................................................................................................
. . . . . . . . . . . . . . . . . . 8.9
. . . . . . . . . . . . . . . .14.0
. . . . . . . . . . . . . . . . . .21.0
. . . . . . . . . . . . . . . . . .54.5
. . . . . . . . . . . . . . . . . .49.7
. . . . . . . . . . . . . . . . . .55.032.5
.......................
duplication . . . . . . 3.2
. . . . . . . . . . . . . . . . . .141.9172.5154.4120.3103.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92.350.6
.......................
laboratory1 . .129.2
. . . . . . . . . . .---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.4
. . . . . . . . . . . . . . . . . 6.5
. . . . . . . . . . . . . . . . . .6.2
. . . . . . . . . . . . . . . . . .6.9
. . . . . . . . . . . . . . . .8.8
.....
DVD / Blu-ray . . . . . . . . . . . . . . . . . .99.5100.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72.5
. . . . . . . . . . . . . . . . . .32.0
. . . . . . . . . . . . . . . . . .33.2
. . . . . . . . . . . . . . . . . .31.024.0
.......................
manufacturing . . . .99.4
. . . . . . . . . . . . . . . . . . 3.7
. . . . . . . . . . . . . . . . . . 3.6
. . . . . . . . . . . . . . . . . . 8.4
. . . . . . . . . . . . . . . .12.4
. . . . . . . . . . . . . . . . . .12.2
. . . . . . . . . . . . . . . . . .12.011.2
.......................
archiving, storage, restoration . . . . . . 0.9
. . . . . . . . . . . . . . . . . .14.5
. . . . . . . . . . . . . . . . . .29.2
. . . . . . . . . . . . . . . . . .16.5
. . . . . . . . . . . . . . . . . .29.7
. . . . . . . . . . . . . . . . . .26.2
. . . . . . . . . . . . . . . . . .19.818.8
.......................
other2 . . . . 23.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .695.0
..........
total . .718.3776.0803.5805.0798.0729.0745.6
C
Revenue in the technical services sector,
by activity (in millions of €)
1
Until 2006, subtitling was included with laboratory activity.
Beginning in 2007, it was added to the dubbing category.
2
Credits, special effects, logistics, etc.
Source: FICAM.
D
Television remains the main client
of technical service providers
Technical service providers work mainly in six markets:
feature film cinema, repeat television programming, first-run
television programming, animated programs, multimedia,
and advertising or institutional films. Most companies in
the sector offer services in several of these markets and
it is increasingly rare for a company to work in only one
market.
Cinema and television are the two main client industries
of technical service providers. In 2011, the TV market
(repeat and first-run programs) generated 52.5% of technical
service providers’ revenues (46.0% in 2010). Since 2005,
it is the top source of revenue for the technical services
sector. The revenue generated by television increased in
2011 (+6.3% compared to 2010).
The film sector generated 27.5% less revenue than in 2010,
an effect of the marked decline of the photochemical
industry and of 35mm printing in laboratories. The film
market accounted for 27.7% of the income for technical
services in 2011, compared to 35.7% in 2010 and 32.6%
in 2009.
The third market for technical services is advertising,
generating 13.8% of total sales in 2011 (12.1% in 2010,
10.0% in 2009). Revenue in this segment increased
by 6.0% between 2010 and 2011. Since 2000, technical
services for advertising have increasingly relocated to other
countries, especially for shooting (about 70% of shooting
for promotional films is done outside of France).
In 2011, the proportion of technical services revenue
generated by animation decreased to 1.8% (3.3% in 2010).
In terms of value, this sales figure dropped by 46.9%.
The multimedia market generated 2.2% of the technical
service providers’ revenue in 2011, compared to 2.0%
in 2010. Sales in the segment rose by 3.3% between
2010 and 2011.
2004 2005 2006 2007 2008 200920102011
. . . . . . . . . . . . . . . . . . 346.5
. . . . . . . . . . . . . . . . . . .347.3
. . . . . . . . . . . . . . . . . .347.7
. . . . . . . . . . . . . . . . . 358.6
. . . . . . . . . . . . . . . . . . . . .357.0343.2365.0
.........................................
television (repeat + first-run) . 309.4
cinema 317.6 305.7 318.5 315.9 289.0 238.0266.5193.0
.......................................................................................................................................
. . . . . . . . . . . . . . . . . .78.2
. . . . . . . . . . . . . . . . . .89.6
. . . . . . . . . . . . . . . . . .93.6
. . . . . . . . . . . . . . . . . .88.3
. . . . . . . . . . . . . . . . . . . .73.090.596.0
.......................................
advertisement and institutional films . . . .72.2
. . . . . . . . . . . . . . . . . .24.4
. . . . . . . . . . . . . . . . . .20.8
. . . . . . . . . . . . . . . . . .16.8
. . . . . . . . . . . . . . . . . .20.9
. . . . . . . . . . . . . . . . . . . .27.024.513.0
.......................................
animation . . . .10.0
. . . . . . . . . . .----
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14.0
. . . . . . . . . . . . . . . . . . . .20.0
. . . . . . . . . . . . . . . .15.0
. . . . . . . . . . . . . . . .15.5
.......
multimedia . . . . . . . . . . . . . . . 21.2
. . . . . . . . . . . . . . . . . . 27.3
. . . . . . . . . . . . . . . . . .31.0
. . . . . . . . . . . . . . . . . .27.2
. . . . . . . . . . . . . . . . . . . .14.0
. . . . . . . . . . . . . . . . . .5.912.5
.....................
other1 . . . . . . .9.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729.0
. . . . . . . . . . . . . . . . 745.6
. . . . . . . . . . . . . . . .695.0
..........
total . .718.3776.0803.5805.0798.0
D
Revenue for the technical services sector,
by market (in millions of €)
Scope: companies that provided complete information
from 2004 to 2011.
1
Video, live entertainment, training, etc
Source: FICAM.
12
E
Confirmed increase in export sales
For the technical services sector, exports essentially result
in a double phenomenon: it includes not only services
rendered on the international market, but also services that
are rendered in France for foreign films, and for which
invoicing is done abroad.
In 2011, export sales for the technical industries continued
to increase (+24.2%). Exports made up 9.3% of total revenue
for the companies in question, versus 7.0% in 2010. This
portion, which was dropping from 2006 to 2009, confirms
the recovery that started in 2010.
F
Steady investment effort despite drop in revenue
In 2011, technical services investments showed a slight
decrease (-5.6%). They remained at a lower level than those
reached between 2006 and 2008. On average, they
represented 7.2% of the revenue of companies (as in 2010),
which indicates a stable investment effort since 2009.
Each company invested an average of €464,254 in 2011,
compared to €492,593 in 2010.
FICAM’S ACTIVITY AND MARKET OBSERVATORY
Remarks on methodology
For several years, FICAM’s “Activity and Market
Observatory” has been listing French-initiative feature
films with the aim of following the evolution of film shoots
and their characteristics in France. The Ficam publishes
this list every quarter. Annual data are presented in this
review. Films are ranked by the year in which the first day
of shooting began. This list is different from the one
traditionally offered by the CNC (see chapter 6, page 72),
where films are categorized by the year when they collected
investments, before the start of filming.
FICAM’s “Activity and Market Observatory” quarterly
monitors film shoots for single episodes and series
in televised fiction with the same objective. Just as for
cinematic films, they are categorized by the year in which
the first day of shooting begins. Thus, these counts are
also different from those conducted by the CNC,
where the reference year is the one in which financing
is requested (see chapter 7, page 86).
2004 2005 2006 2007 2008 2009 20102011
2004 2005 2006 2007 2008 2009 20102011
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47.352.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65.0
........
exports (€ million) . . . .62.776.871.768.761.2
. . . . . . . . . . . . . . . . . . 47.0
. . . . . . . . . . . . . . . . . .63.3
. . . . . . . . . . . . . . . . . .92.5
. . . . . . . . . . . . . . . . . .60.0
. . . . . . . . . . . . . . . . . .53.3
. . . . . . . . . . . . . . . . . .53.650.6
.......................
investments (€ million) . . . .34.5
revenue (€ million ) 718.3 776.0 803.5 805.0 798.0 729.0 745.6695.0
.......................................................................................................................................
. . . . . . 8.79.98.98.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.76.57.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.3
.....
exports / revenue (%) E
Technical industry exports
Source: FICAM.
revenue (€ million) 718.3 776.0 803.5 805.0 798.0 729.0 745.6695.0
.......................................................................................................................................
. . . . . . . . . . . . . . . . . . .6.1
. . . . . . . . . . . . . . . . . .7.911.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.5
. . . . . . . . . . . . . . . . . 7.3
. . . . . . . . . . . . . . . . . . 7.27.2
.....................
investments / revenue (%) . . . . . . 4.8
F
Technical industry investments1
1
Investments relative to the purchase of new equipment (personnel training
and financial assessment of new skills not taken into account).
Source: FICAM.
G
H
I
84.4% of digital shootings for fiction films
35mm film keeps declining. It was used for 31.2% of shooting
weeks dedicated to French-initiative fiction film projects
in 2011 and only 13.5% of shooting weeks in 2012. The use
of large-sensor digital cameras is replacing traditional
35mm shooting. 71.5% of shooting weeks were done with
this new equipment in 2012, compared to 54.9% in 2011,
15.7% in 2010 and 11.4% in 2009.
20082009 2010 2011 2012
. . . . . . .2.11.22.30.10.0
.............................................................................
SD / HDV / XDCam / DVCam video camera . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . .-4.22.00.7
.......................................................
Digital photo camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.012.2
........................
HD video camera . . . .16.415.212.0
. . . . . . . . . . . . . . . 11.415.754.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71.5
........
large-sensor digital film camera . . . . . . .1.1
. . . . . . 6.93.63.42.81.5
..............................................................................
16 mm ................................................................................
35 mm . . . .72.668.562.431.213.5
. . . . . . .1.0---
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.6
......
not specified ...................................................................................
total . 100.0100.0100.0100.0100.0
Increasingly widespread use of digital post-production
French-initiative fiction film projects for which
post-production is done with traditional silver prints
disappeared in 2012 (it accounted for 2% of the works
in 2011). Digital post-production, which accounted
for 97% of works in 2011, reached all of them in 2012.
Post-production in 2K digital alone accounted for 81%
of films
HD and large-sensor digital cameras are the shooting
formats for TV fictions
HD and large-sensor digital cameras represent 98.2%
of the weeks of shooting dedicated to TV fictions in 2012
(88.5% in 2011). The dominance of HD seems to be on the
decline as it only accounted for 24.2% of shooting weeks
in 2012, compared to 40.9% in 2011.
The breakthrough of shooting with large-sensor digital
cameras accounted for a large majority of shooting in 2012.
This format represented 74.0% of shooting weeks for
French-initiative TV fictions. In 2011, this figure was 47.6%
(and only 11.2% of shooting weeks in this format in 2010).
The use of film is becoming marginal: 35mm and 16mm
represented 0.7% of shooting weeks for French-initiative
TV fictions in 2012, compared with 8.2% in 2011 and 21.0%
in 2010.
G
Breakdown of shooting weeks
by filming medium for
cinematographic fiction1 (%)
1
French-initiative cinematographic fiction
whose filming began in that year.
Source: FICAM’s Activity and Market Observatory.
20082009 2010 2011 2012
2009201020112012
..................................................................
traditional analog 24520
. . . . . . . . . . . . . . . . . . .17.514.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.8
. . . . . . . . . . . . . . . . . . 0.7
.....
16 mm . . . . 29.1
. . . . . . 4.09.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7.04.40.0
........................................
35 mm . . . . . . . .2716
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .815
....................
HD video ...............................................................................
HD . . . .65.964.563.940.924.2
. . . . . . . .43688581
..........................................................
2K video . . . . . . .1.0-
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.5-.........................................
beta / DV / SD . . . . . . . . . .1242
........................................................
4K video . . . . . . . . . . . . . .1.511.247.674.0
..........................................................
large-sensor digital film camera . . . . . . . . . . .-
. . . . . . . . . .1000
........................................................
SD video . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . .-2.21.30.9
......................................................
digital photo camera . . . . . . . . . .4912
........................................................
not specified . . . . . . . . . . .-6.81.22.00.2
........................................................................
not specified . . . . . 100100100100
.............................................................
total ..................................................................................
total . 100.0100.0100.0100.0100.0
H
Cinematographic fiction
postproduction1 (%)
1
I
Breakdown of shooting weeks
by filming medium for televised
fiction1 (%)
1
Beware Planet Earth. © 2012 Lightmare Studio.
Card Stories. © 2011-2013 Farsides CC-BY-SA 3.0.
Groove High Talents. ©2012 Planet Nemo.
Virtual Regatta Inshore. © 2012-2011 Many Players.
Red Johnson – Seul contre tous.
© Lexis Numerique.
Wargame European.
© 2012 Eugen Systems / Focus Home Interactive.
Fly’N. © 2012 Ankama Play.
13
Video games
Mordheim / Confrontation.
© 2011 Focus Home Interactive.
In 2012, video games on physical media generated €1.1 billion in sales in France.
Household spending on gaming software fell 13.6% from 2011.
Home consoles accounted for 71.1% of revenue.
According to IDATE, the games market distributed online was worth an estimated €788.6 billion.
Transcripted. © Alkemi.
Star Empire (Endless Space). © 2012 Amplitude Studios.
13
Video Games
Methodology
For the past three years, the CNC has been conducting
a study on video game consumption in France.
This study assesses the volume and annual revenue
for sales of video games on physical media. It also
analyzes household consumption of offline video
games. The study uses data from the GfK Institute,
which measures software sales (console and computer
games). “Volume” refers to the number of units sold.
Packages containing multiple games are called
“bundles” and are not counted. Each game medium
is paired with a genre (action/adventure, sports, FPS,
MMO, etc.) and a country. Country categorization was
done using data available to the CNC. Games that were
designed and developed in France that had majority
French design expenses are considered to be French.
Game genres use nomenclature determined by the GfK.
In 2012, according to GfK-Médiamétrie, more than one
out of two French households had a gaming console (50.6%),
versus 36.6% five years ago. At the end of 2012, 44.8% of
households had a home console (2.2 points higher than in
2011 and 12.8 points higher than five years ago). The rate
of handheld consoles was about 10 points higher (34.6%).
A
B
The market for physical video games continued to fall
in 2012, with 15.5% less volume and 13.6% lower value
With 28.9 million units sold, the market for physical video
games continued to fall in 2012 (15.5% less volume than
in 2011) even more sharply than the year before (-9.2%).
French video games (-23.3%) were more strongly
impacted than foreign video games (-15.0%).
The latter accounted for 93.2% of volume sold in 2012
(+0.3 points), compared to 6.8% for French games.
Total sales for the physical video game market fell by
13.6% to €1.101 billion in 2012. Revenue from French
game sales dropped by 18.1%, versus a 13.3% decrease
for foreign games. Market share for French games
dipped slightly to 6.1% (-0.4 points compared to 2011),
versus 93.9% for foreign games.
In 2012, the average price of physical video games
increased by 2.3% to €38.07. It exceeded €38 for the first
time since 2008, boosted by the high prices of games for
new consoles. The average price of foreign video games
rose 2.0%, while the average price of French games rose
5.4% between 2011 and 2012. However, foreign game
averages remained €3.90 higher than those for French
games (€38,3 vs €34,4).
Home consoles accounted for 71.1% of revenue
In 2012, total sales from the video-game market fell
across all media: -8.7% for handheld console games
(despite the launch of the PS Vita), -11.7% for computer
games, and -15.1% for home console games. In 2012,
home console games represented 71.1% of revenue for
the physical video game market (-1.2 points). It should be
noted that this data does not include sales of online
games, which made up a major portion of revenue for
computer video games.
The average selling price for physical video games rose
across all devices (but mainly for handheld consoles)
with the launch of new game consoles (the PS Vita in
2012 and the 3DS in 2011). Prices varied widely depending
on the device. Home console games remained the most
expensive on the market, with an average price of €44.10,
slightly higher than in 2012 (+0.9% compared to 2011).
C
Next came handheld console games, the average price
of which rose to €30.0 in 2012, ahead of computer games
at an average of €26 (+4.1%).
French publishers switch focus to home consoles
Within just the scope of French video games, the market
share for home console games grew in 2012, representing
87.3% of revenues for French games (+2.0 points in one
year). Up until 2009, most French physical games were
consumed on handheld consoles. French games moved
towards the home console market (with the success
of franchises like Just Dance), to the detriment of the
handheld console market, whose total sales fell by 34.4%
in one year. In 2012, French games earned 8.2% of total
sales from handheld consoles, compared to 10.2% in
2011. computer games accounted for 4.6% of revenue
for French games in 2012, comparable to 2011.
evol.
2008 2009 2010 2011 201212/11
French games 3.73.23.02.52.0
-22.3 %
.......................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-15.0 . . . . . . . . . .%
...
foreign games 40.137.534.731.727.0
. . . . . . . . . . . . . . . . . . . . . . . .40.7
. . . . . . . . . . . . . . . . . . . . . . . . 37.7
. . . . . . . . . . . . . . . . . . . . . . . 34.2
. . . . . . . . . . . . . . . . . . . . . . . . 28.9-15.5 %
................................
total . . . . . . . .43.8
A
evol.
2008 2009 2010 2011 201212/11
Sales volumes for physical video games,
by nationality (in millions of units)
French games total A
100 %
80 %
60 %
40 %
13.2
12.5
28.1
21.8
58.7
65.6
B
86.9
82.6
67.6-18.1 %
1 649.5
1 508.5
1 404.1
1 274.0
1 101.0
-13.6 %
.......................................................................................................................................
Revenue from physical video games sales,
by nationality (in millions of €)
10.1
10.3
17.0
17.6
18.7
72.1
72.3
71.1
evol. evol.
2008 2009 2010 2011 201212/11 2008 2009 2010 2011 201212/11
10.9
0
2009
86.7
20 %
2008
126.8
.......................................................................................................................................
.......................................................................................................................................
foreign games 1 522.71 421.91 317.31 191.41 033.3-13.3 %
2010
2011
2012
Distribution of revenue from
physical video games, by device (%)
computer games
handled console games
French games
home console games .................................................................................................................
handheld console games .................................................................................................................
computer games .................................................................................................................
total .................................................................................................................
C
foreign games
40.5
39.4
69.4
70.4
59.0
-16.2 %
.................................................................................................................
77.7
40.4
12.3
8.4
5.5
-34.4 %
.................................................................................................................
927.8
950.7
942.8
850.9
723.3
385.1
288.8
225.9
216.0
200.0
-15.0 %
8.6
6.8
5.1
3.7
3.1
-17.0 %
.................................................................................................................
-7.4 %
209.7
182.4
148.6
124.5
110.1
-11.6 %
126.8
86.7
86.9
82.6
67.6
-18.1 %
.................................................................................................................
1 522.7
1 421.9
1 317.3
1 191.4
1 033.3
-13.3 %
Total sales for the physical video-game market,
by country and by device (in millions of €)
home console games
13
Video Games
D
Growth in sales of physical video games for
8th generation handheld consoles
Two new consoles were launched in 2012: a handheld one
in February (the PS Vita), and a home console at the end
of November (the Wii U). Changes in game sales for these
consoles will be essential in the coming years. Sales of
games for 8th generation handheld consoles (PS Vita and
3DS) rose by 125.8% in 2012 (€116.2 million), while sales
of games for 7th generation handheld consoles fell by
48.3% (€89.4 million).
There were several notable changes in 2012. For the first
time, video game sales fell across all consoles except
the 3DS, the leading 8th generation console that was
launched in March 2011. The console whose video-game
sales decreased the least (-6.9% to €388.8 million in
2012) was the PS3, which captured 35.3% of physical
game sales across all consoles (+2.5 points compared to
2011). With the two best physical video game sales in
terms of volume – Call of Duty: Black Ops 2 and FIFA 13 –
the PS3 confirmed its lead ahead of Nintendo’s home
consoles. Games for the Wii (-34.4% to €161.9 million)
and Wii U (€9.1 million in one month) captured 15.5% of
global video game sales in 2012. Sales of Xbox 360 games
(-11.5% to €219.8 million) slowed for the first time,
but its market share was stable at 20.0% of total revenue
(+0.5 point compared to 2011).
The second major change in 2012 affected physical
games for handheld consoles, with a new drop in sales
despite the launch of two new generation consoles.
Games for the DS fell from €143.3 million in 2011 to
€73.3 million in 2012 (-48.9%) and lost market share,
with 6.7% of total revenue in 2012 (11.2% in 2011).
This drop was not entirely compensated for by the increase
in sales of 3DS games (+88.2% to €96.8 million and 8.8%
of market share), the only console for which game sales
increased in 2012, due partly to the success of Mario Kart 7
and New Super Mario Bros 2. Games for the PlayStation
Portable (PSP) fell 45.9% to €16.1 million in 2012,
for a market share of 1.5% (2.3% in 2011).
Sales of PS Vita games, which totaled €19.3 million in one
year (1.8% of the market share), have already been higher.
Sales of physical games for the PC continued to fall
(-11.7% to €113.1 million), but market share was stable
(10.3% in 2012). Of note was the impact of Diablo 3,
exclusively for computer, which ranked 8th for best
physical game sales in 2012 across all platforms.
title
platform
1 Call
. . . . . . . . .of
. . . . .Duty :
. . . . . . . . . . . . Black
. . . . . . . . . . . . .Ops
. . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . PS3
.......
2 . . . . . . . . . .13
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PS3
.......
FIFA
3 . . . . . . . . . .Dance
. . . . . . . . . . . . . .4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WII
.....
Just
4 . . . . . . . . . .Super
. . . . . . . . . . . . .Mario
. . . . . . . . . . . . Bros
. . . . . . . . . . .2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3DS
.......
New
5 . . . . . . . . .of
. . . . .Duty
..........:
. . .Black
. . . . . . . . . . . .Ops
. . . . . . . . .2
. . . . . . . . . . . . . . . XBOX
. . . . . . . . . . . .360
......
Call
D
Best sales volumes for physical
video games in 2012
Source : CNC – GfK.
2011
games for PC
10.1 %
games for Wii
19.4 %
games for 3DS
4.0 %
games for DS
11.2 %
games for PSP
2.3 %
games for other
home consoles1
0.7 %
games for PS3
32.8 %
games for XBox 360
19.5 %
2012
games for PC
10.3 %
games for 3DS
8.8 %
games for DS
6.7 %
games for Wii
14.7 %
Video Game Genres
MMO (Massively Multiplayer Online): these role-playing
games are exclusively multiplayer and are innovative
in that they feature worlds, called “persistent worlds,”
that operate 24 hours a day.
FPS (First-Person Shooter): shooting games based
on aiming and moving and in which the environment is
viewed through the eyes of the character being played.
RPG (Role Playing Game): video games based
on traditional role-playing games such as
Dungeons & Dragons. The player plays as one or more
“adventurers” that specialize in a specific area
(combat, magic, etc.) and progress within a linear plot.
New genres : games involving raising animals or farming
livestock, music, singing, dancing, rhythm, job simulations
or party games. Rhythm video games are often arcade
games in which the goal is to follow a sequence
of movements or maintain a particular rhythm.
These games are played using a keyboard controller or
joystick. Other games in this segment require a dance
mat or an imitation musical instrument.
games for Wii U
0.8 %
games for PS Vita
1.8 %
games for PSP
1.5 %
games for other
home consoles1
0.2 %
games for PS3
35.3 %
games for XBox 360
20.0 %
D
Distribution of revenue
from physical video game sales,
by platform (%)
1
PS2, Xbox, etc.
13
Video Games
E
Increase in market share for action/adventure
and sports games
In 2012, the top three genres in terms of volume represented
more than half of total physical video game sales.
All genres experienced a drop in sales volumes, except
for MMOs (+46.0% to 0.3 million units sold in 2012) and
simulation games (+22.1% to 0.4 million units).
Action and adventure video games continued to
dominate the French market with 7.2 million units sold,
despite a decrease of 9.0% in one year. Sports games
and FPSs tied for second place in 2012, with 4.2 million
units sold, representing a decrease of 4.8% for action/
adventure games and 17.4% for sports. In third place
were RPGs, which sold 2.2 million units in 2012 (-17.5%).
Next came racing games (-22.8% to 2.1 million units) and
“new genre” games (2.1 million units).
In terms of value, the top three genres captured 60.2% of
sales in 2012. Action/adventure games led the pack,
despite a 1.8% drop in total sales to €272.6 million in
2012. Just behind were FPSs, whose revenue fell 18.9%
to €202.6 million. Revenue for sports games slipped
slightly, down 1.8% to €187.2 million in 2012. Racing games
fell for the second year in a row (-28.7% to €77.8 million),
giving up fourth place to RPGs (-13.1% to €88.2 million).
The only genre to experience growth in 2012 was MMOs,
whose 2012 revenues matched those in 2010 (+136.2%
to €12.2 million).
Distribution of French game sales by genre differed
from the distribution for all countries combined.
The “new genres” category (€37.1 million in total sales
in 2012) were by far the most-sold French genre,
representing 55.2% of global sales for the genre, thanks
in part to the success of the Just Dance franchise. The
action/adventure genre came in second for French game
sales (€9.6 million), ahead of platform games (€9.1 million,
a decrease of 33.7%). Market share for French games
came to 14.0% for platform games (-5.5 points) and 3.5%
for action/adventure games (-0.3 points).
F
Video-game market trends:
ubiquity and online distribution
The video game market is changing rapidly. New gaming
devices (touch tablets, smartphones, Internet TV) are
leading to new gaming habits and accelerating online
distribution.
The success of the Free2Play economic model –
especially on desktop computers via MMO games and
social network games, on smartphones and on tablets –
is beginning to include home consoles, handheld
consoles and Internet TV. Free2Play games are online
games, part or all of which can be played for free. In
contrast to MMOs with subscription fees, these games
are generally funded by the sale of in-game objects,
optional services or ads. However, the pay-per-play
model remains the leading model on dedicated devices.
Games are also developed through on-demand game
services (or “cloud gaming”), which compete with
physical video game devices. On-demand gaming is
a method that distributes games from a remote server,
where content is stored and processed in real time
before being streamed to players. Local storage devices
and software are not required. Currently, these
on-demand game services are only used for casual
games, which require little processing, low bandwidth
and low network reactivity. However, this sector is slowly
expanding into more ambitious “AAA” games for console
or PC video games.
According to IDATE estimates, in France, the video game
segment distributed online was worth an estimated
€788.6 million in 2012. By 2016, it should represent half
of the video game market.
Online computer gaming was the most dynamic segment
of online-distribution video games in France in 2012.
Total sales for this segment totaled €417.5 million and are
expected to continue to grow at an average annual rate of
9.0% until 2016.
Games are being distributed online more often and are
also becoming more mobile. Smartphones offer different
games available only online. With their low game prices
(generally around €0.89), smartphones are beginning to
devour handheld console sales. Tablets also offer a wide
range of games that are often enhanced versions of
smartphone games. The French market for mobile phone
games (for both smartphones and traditional phones)
was worth an estimated €231.4 million in 2012 and is
expected to reach €368.6 million in 2016.
On home consoles, sales in France of video games
distributed online totaled €119.0 million in 2012
according to IDATE, representing 12.4% of revenue from
total sales of home console games. This number may
reach 31.7% in 2016. According to IDATE, the segment
may become the second biggest market for video games
distributed online by 2016, beating out mobile games.
IDATE estimates that by the end of 2015, half of
worldwide home console game sales will come from
games distributed online.
The market for handheld console video games is also
headed towards online distribution. The PS Vita, a new
generation handheld console, is already available in
Wi-Fi and 3G versions. Sales of handheld console games
distributed online were fairly low in 2012, but they were
growing. They represented 7.0% of revenue for handheld
consoles in the French market and should reach 35.9%
by 2016, according to IDATE. This is the largest growth
expected between 2012 and 2016 (an average yearly
increase of 72.9%).
Full results concerning video games market are available
in a study called Video games market published in
october 2012 and available for download at www.cnc.fr.
20122013201420152016
online games for computer 417.5 452.1491.9541.4590.3
...............................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312.6343.1368.6
.........................................................
games for mobile phones 231.4273.6
. . . . . .119.0
. . . . . . . . . . . . . . . . . . . . . . . .161.5
. . . . . . . . . . . . . . . . . . . . . . . .212.6302.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .419.2
.........
home console games distributed online . . . . . . . .20.7
. . . . . . . . . . . . . . . . . . . . . . . . 41.4
. . . . . . . . . . . . . . . . . . . . . . . .79.5131.2176.8
.......................................................
portable console games distributed online . . . . . . . . . . . . . . . . . . . . . . . . 928.71,096.61,318.01,555.0
..................................................................................
total for video games distributed online . . . . . 788.6
. . . . . . . . . . . . . . . . . . . . . . . 2,133.92,387.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2,701.72,942.2
.....................................
total video game market . . .2,118.1
change in market for games distributed online ...............................................................................................................
online distribution market/total market ...............................................................................................................
F
-
+17.8 %
+18.1 %
+20.2 %
+18.0 %
37.2 %
43.5 %
45.9 %
48.8 %
52.9 %
French projected market for video games
distributed online (in millions of €)
Source: IDATE.
evol.
2008 2009 2010 2011 201212/11
. . . . . 309.5
. . . . . . . . . . . . . . . . . . . . . . . . 295.2
. . . . . . . . . . . . . . . . . . . . . . . . .321.8
. . . . . . . . . . . . . . . . . . . . . . . .277.5
. . . . . . . . . . . . . . . . . . . . . . . 272.6-1.8%
..................................
action/adventure . . . . . . . . . . . . . . . . . . . . . . . .161.2
. . . . . . . . . . . . . . . . . . . . . . . .187.0
. . . . . . . . . . . . . . . . . . . . . . . 249.7
. . . . . . . . . . . . . . . . . . . . . . . . 202.6-18.9%
..................................
FPS . . . . . .134.1
. . . . . . 281.1300.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203.3
. . . . . . . . . . . . . . . . . . . . . . . . 190.8
. . . . . . . . . . . . . . . . . . . . . . . . .187.2-1.8%
.................................
sports . . . . . . . .98.0
. . . . . . . . . . . . . . . . . . . . . . . .92.7
. . . . . . . . . . . . . . . . . . . . . .113.2
. . . . . . . . . . . . . . . . . . . . . . . .101.5
. . . . . . . . . . . . . . . . . . . . . . . . . .88.2-13.1%
...............................
RPG . . . . . . . . . . . . . . . . . . . . . . . .122.4
. . . . . . . . . . . . . . . . . . . . . . . .136.0
. . . . . . . . . . . . . . . . . . . . . . . 109.2
. . . . . . . . . . . . . . . . . . . . . . . . . . .77.8-28.7%
...............................
racing . . . . . .140.8
. . . . . . . . . . . . . . . . . . . . . . . .128.2
. . . . . . . . . . . . . . . . . . . . . . . .116.3
. . . . . . . . . . . . . . . . . . . . . . . 100.4
. . . . . . . . . . . . . . . . . . . . . . . . . . .67.3-32.9%
...............................
new genres . . . . . .183.8
. . . . . . . . .81.1
. . . . . . . . . . . . . . . . . . . . . . . 77.4
. . . . . . . . . . . . . . . . . . . . . . . .81.4
. . . . . . . . . . . . . . . . . . . . . . . .66.6
. . . . . . . . . . . . . . . . . . . . . . . .64.7-2.8%
...............................
platform . . . . . . . . . . . . . . . . . . . . . . . .110.2
. . . . . . . . . . . . . . . . . . . . . . . . . .89.8
. . . . . . . . . . . . . . . . . . . . . . . .65.4
. . . . . . . . . . . . . . . . . . . . . . . .43.9-33.0%
...............................
management/war games . . . . . .121.5
. . . . . . . . . . . . . . . . . . . . . . . . . .73.4
. . . . . . . . . . . . . . . . . . . . . . . . 67.7
. . . . . . . . . . . . . . . . . . . . . . . .40.2
. . . . . . . . . . . . . . . . . . . . . . . .31.9-20.7%
...............................
board games . . . . . .103.3
. . . . . . . . .81.1
. . . . . . . . . . . . . . . . . . . . . . .78.0
. . . . . . . . . . . . . . . . . . . . . . . .44.7
. . . . . . . . . . . . . . . . . . . . . . . .34.2
. . . . . . . . . . . . . . . . . . . . . . . .30.8-9.8%
...............................
combat MMO 24.6
12.6
12.7
5.2
12.2+136.2%
.......................................................................................................................................
. . . . . . . .15.9
. . . . . . . . . . . . . . . . . . . . . . . . . . 9.7
. . . . . . . . . . . . . . . . . . . . . . . . 6.8
. . . . . . . . . . . . . . . . . . . . . . . . 9.6
. . . . . . . . . . . . . . . . . . . . . . . .8.9-6.7%
.............................
simulation . . . . . . . . . . . . . . . . . . . . . . . .24.4
. . . . . . . . . . . . . . . . . . . . . . . .10.0
. . . . . . . . . . . . . . . . . . . . . . . . 16.1
. . . . . . . . . . . . . . . . . . . . . . . . . . 8.1-49.4%
.............................
compilation . . . . . . . .39.4
. . . . . . . .35.3
. . . . . . . . . . . . . . . . . . . . . . . .18.8
. . . . . . . . . . . . . . . . . . . . . . . . .11.1
. . . . . . . . . . . . . . . . . . . . . . . . . .7.7
. . . . . . . . . . . . . . . . . . . . . . . 4.7-39.1%
.............................
educational multimedia softwares . . . . . . . . . . . . . . .-
. . . . . . . . . . . . . . . . . . . 4.5
. . . . . . . . . . . . . . . . . . . . . . . . 2.4
. . . . . . . . . . . . . . . . . . . . . . . . 0.1
. . . . . . . . . . . . . . . . . . . . . . . .0.0-79.1%
.............................
other 3 000
2 000
Revenue for the sale of physical video-games,
by genre (millions of €)
1,329.5
1,205.1
500
788.6
928.7
1,387.2
1,290.6
1 500
1 000
1,096.6
1,318.0
1,555.0
0
2012
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,101.0
. . . . . . . . . . . . . . . . . . . . . . . .-13.6%
.............
total 1,649.51,508.51,404.11,274.0
E
1,383.7
2 500
F
2013
2014
2015
2016
Estimated change in video game revenue in France
physical video game market
online video game market
Source: IDATE.
Men in Black 3 by Barry Sonnenfeld.
© Sony Pictures Releasing France.
Balas & Bolinhos – O Ultimo Capitulo by Luis Miguel Ismael. © LightBox Filmes.
The Dark Knight Rises by Christopher Nolan.
© Warner Bros. France.
Welcome to the North by Luca Miniero.
© Medusa Distribution.
The Hobbit: An Unexpected Journey by Peter Jackson. © Warner Bros. France.
Ted by Seth MacFarlane. © Universal Pictures International France.
Road to Kaboul by Brahim Chkiri.
© Image Factory / Canal 4.
Ice Age: Continental Drift by Steve Martino and Mike Thurmeier.
© Ice Age 4 TM & © 2012 20th Century Fox Film Corporation.
13
14
panorama mondial
World Cinema
Les premières estimations indiquent que les entrées dans les salles
Initial estimates
indicateEuropéenne
that movie theater
the
European
dipped slightly
in 2012 (-2.4%).
de l’Union
reculentadmissions
légèrementinen
2011
(-0,4 %)Union
mais l’année
présente
Attendance was up
Germany
(+4.2%)
andles
themarchés.
UK (+0.5%),
but declined in
Italy (-9.9%),
Spain (+4,2
(-7.3%)
and France (-6.3%).
uninbilan
contrasté
selon
La fréquentation
progresse
en France
%),
Admissions
rose(+1,4
again%)
inmais
the United
States
(+6.2%).
en Allemagne (+2,4 %) et au
Royaume-Uni
diminue
en Italie
(-7,9 %) et en Espagne (-5,9 %).
China
experiencedles
growth
of more
thanmais
30%les
forfilms
the ninth
consecutive
year.
Aux États-Unis,
entrées
reculent
américains
assurent
It surpassed
Japan
terms
of film àrevenue,
and in 2012
it became
the second biggestsont
market
in the world
l’essentiel
dein
leurs
recettes
l’international.
Le Japon
et la Nouvelle-Zélande
impactés
for environnementales
admissions behind the
United States.
par des catastrophes
et affichent
un bilan en forte baisse.
La Chine confirme sa progression et devient en 2011 le troisième marché mondial
en termes de recettes cinématographiques en salles derrière les États-Unis et le Japon.
The Twilight Saga: Breaking Dawn - Part 2 by Bill Condon. © SND.
Skyfall by Sam Mendes. © Sony Pictures Releasing France.
14
World Cinema
A
EUROPE
Initial estimates by the European Audiovisual
Observatory indicated that movie theater admissions in
the European Union fell 2.4% in 2012. Total attendance
came to 943 million admissions (966 million in 2011).
The year 2012 was full of contrasting results, with
attendance varying greatly in Europe. Southern countries
affected by the economic crisis (Spain, Italy, Greece,
Portugal) experienced a drop in admissions, while they
remained stable in the UK and the Netherlands and grew
in northern countries, mainly in Scandinavia.
France remained the biggest European market despite
a sizeable decrease (-13.6 million admissions, or -6.3%).
Two other major markets also experienced a contraction:
Italy (-11.1 million, or -9.9%) and Spain (-7.1 million,
or -7.3%). Conversely, admissions rose in Germany
(+5.5 million, or +4.2%) and, more moderately, in the UK
(+0,9 million, or 0.5%). Bosnia-Herzegovina saw stronger
growth (+37.9%), ahead of Finland (+19.0%). Scandinavia
(Norway, Sweden, Denmark, Finland) experienced
significant attendance growth in 2012. Finland was
the most dynamic market in the region. It was followed
by Denmark (+14.2%), Sweden (+11.8%) and Norway
(+4.0%).
Outside of the European Union, the Russia Federation
began growing again. Attendance grew to 168.8 million
tickets (+5.8%). Russia held onto its spot as the third
biggest film market in Europe in terms of attendance.
In 2012, the Turkish market continued its growth,
reaching 43.9 million admissions (+3.9%)
In 2012, the market share for national films increased
in 11 of the 25 European Union member states for which
data were available. The countries with the largest
growth in national film market share were Finland
(+10.8percentage points), Portugal (+4.8 percentage
points) and Spain (+3.5 percentage points).
Conversely, the largest contractions were seen in Poland
(-15.2 percentage points), Italy (-11.1 percentage points)
and Lithuania (-7.2 percentage points). Turkey had the
biggest market share in Europe for national films (46.6%).
It was followed by France (40.3%), the UK (32.1%),
Denmark (28.5%) and Finland (28.0%).
feature-length
EuropeanUS
films admissions attendance film share
film share
produced1screens2 (in million) 2, 3
index2,3
(in %) 4
(in %)
. . . . . . . . . . . . . . . . . . . 82925,234
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .959
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . 28
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
....
2002 . . . . . . . . . . . . . . . . . . . 82425,774
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .890
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . 26
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
....
2003 . . . . . . . . . . . . . . . . . . . 87728,727
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,013
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . 30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
....
2004 . . . . . . . . . . . . . . . . . . . 91829,562
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .899
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . 35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
....
2005 . . . . . . . . . . . . . . . .1,04729,467
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .932
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . 34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
....
2006 . . . . . . . . . . . . . . . .1,07329,583
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .920
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . 36
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
....
2007 . . . . . . . . . . . . . . . . 1,17229,654
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .925
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . 33
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
....
2008 . . . . . . . . . . . . . . . .1,22129,807
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .979
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . 31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
....
2009 . . . . . . . . . . . . . . . .1,25029,714
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .963
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . 30
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
....
2010 . . . . . . . . . . . . . . . .1,32129,814
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .966
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . 37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
....
2011 A
Cinema in the European Union
1
Estimates for fiction and documentary films (excluding minority co-productions
and American-financed films in the UK).
2
Estimates.
3
Europe of 27.
4
In admissions. Includes films produced in Europe, mainly in the UK,
with American investments.
Source: The CNC, according to the European Audiovisual Observatory (EAO).
admissions (in million)
change
(in %)
share of national
attendance
film (in %)
screensindex
. . . . . . . . . . . . . . . 203.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -6.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40.35,502
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.3
.....
France According to the earliest information available, revenue
generated by movie theaters in 2012 increased in 13
of the 21 European Union markets for which data were
available.
1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.1
. . . . . . . . . 3,817
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.7
.....
UK 172.5+0.5
. . . . . . . . . . . . . . . .135.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +4.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18.14,617
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.7
.....
Germany . . . . . . . . . . . . . . . .101.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -9.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26.53,814
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.7
.....
Italy . . . . . . . . . . . . . . . . . . 91.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-7.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19.34,000
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.0
.....
Spain A
Key film numbers in the five main European markets in 2012
1
In revenue. Includes films produced in Europe, mainly in the UK,
with American investments.
B
Germany
According to numbers from the Filmförderungsantalt
(FFA), theater attendance for German films increased
4.2% in 2012. Admissions rose from 129.6 million in 2011
to 135.1 million in 2012.
Increased attendance combined with ticket price hikes,
due in part to surcharges for 3D films, explain the 7.8%
increase in revenue. Revenue rose from €958.1 million in
2011 to €1.033 billion in 2012. The average ticket price
was €7.65 in 2012, compared to €7.39 in 2011, an increase
of 3.5%.
The attendance index (the average number of annual
admissions per resident) increased slightly to 1.65 admissions
in 2012 (1.58 in 2011).
The number of screens has been declining in Germany for
six years. There were 1,652 venues in 2012 (1,671 in 2011)
hosting 4,617 active screens (4,640 in 2011) with a seating
capacity of 787,064 (781,983 in 2011). The multiplexes
hosted 1,293 screens.
the top of the list, Warner Bros. fell to second place with
13.8% of the market share. Senator, the top national
distributor in 2012, fell to sixth place with 6.8% of market
share, thanks to the success of the film The Intouchables
(90% of distributor revenue).
The Intouchables topped the German box office in 2012
with 8.9 million admissions, ahead of Skyfall, which had
7.5 million admissions. Ice Age: Continental Drift came in
third place (6.7 million).
Denmark
According to data published by the Danish Film Institute,
movie theater admissions in Denmark grew by 14.2% to
14.2 million admissions in 2012. These were Denmark’s
best results since 1982. Danish films experienced growth
in attendance, reaching 4.1 million admissions.
The market share for national films increased to 28.5% of
admissions. The market share for American films was
53.5%. All of Denmark’s screens were digitized in 2012.
Three of the top ten films in 2012 were shown in 3D.
They were American films and together generated
15.1 million admissions, or 11.2% of total admissions.
The top German film, Türkisch für Anfänger, took
10th place with 2.4 million admissions. There were two
German films among the top twenty films of the year.
After experiencing growth in 2011, the market share for
German films fell four points to 18.1% of total admissions.
As in 2011, there were 132 new German films out on screens.
There were 1,094 German films shown during the year.
Overall, they generated 24.0 million admissions in 2012,
representing a 14.1% decrease compared to 2011.
In 2012, four German films exceeded the one million
admissions mark, compared to eight in 2011. Overall,
these four films generated 5.5 million admissions
(13.8 million in 2011), representing 4.1% of total
admissions. Moreover, six German films had 500,000
to one million admissions in 2012 (seven in 2011).
In 2012, 40 films were shown in 3D in Germany (46 in
2011), including 7 national productions. Together they
generated 28.9 million admissions, representing 21.8%
of total attendance (22.8% in 2011).
According to numbers from ScreenDaily, Sony was the
top-ranked distributor in Germany thanks to Skyfall
(40% of distributor revenue). After three years in a row at
2003200420052006200720082009 2010 2011 2012
. . . . . . . .80
. . . . . . . . . . . . . . . . . . . .87103122129125144119132132
...................................................................................................................................................................
national films released . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4,8104,7344,6994,640
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4,617
..........
screens 4,8684,8704,8894,8484,832
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127.3136.7125.4129.4146.3126.6129.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135.1
..........
admissions (in million) 149.0156.7
...............................................................................................................................................................................................
attendance index 1.81.91.51.71.51.61.81.61.61.7
. . . . . . . . . . . . . . . . . . . . 892.9
. . . . . . . . . . . . . . . . . . . . .745.0
. . . . . . . . . . . . . . . . . . . .814.4
. . . . . . . . . . . . . . . . . . . .757.9
. . . . . . . . . . . . . . . . . . . 794.7
. . . . . . . . . . . . . . . . . . . . .976.1
. . . . . . . . . . . . . . . . . . .920.4
. . . . . . . . . . . . . . . . . . . . 958.11,033.0
..............................
box-office revenue (in €M) . 850.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17.125.818.926.627.416.821.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18.1
.......
national film share (in %)1 16.720.8
. . . . . . . . . . . . . . . . . . . . . . . . 72.168.465.869.358.764.566.361.260.7
.......................................................................................................................................................................
US film share (in %)1 76.8
. . . . . . 0.9
. . . . . . . . . . . . . . . . . . . . 2.23.11.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.6
. . . . . . . . . . . . . . . . . . . . 2.7
. . . . . . . . . . . . . . . . . . . .2.4
. . . . . . . . . . . . . . . . . . . .2.8ndnd
.............................................
French film share (in %)1 . . . . . . .8.113.620.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.119.715.812.514.315.619.8
...............................................................................................................................
European film share (in %) 2 B
Cinema in Germany
¹ In admissions since 2005.
² In admissions, not including national films, according to the EAO’s Lumière database.
Includes films produced in Europe, mainly in the UK, with American investments.
Source: The CNC, according to Filmförderungsanstalt, Spitzenorganisation der Filmwirtschaft.
14
World Cinema
C
Spain
In 2012, 182 feature-length films were produced in Spain,
compared to 199 in 2011. 126 works were entirely Spanish
(151 in 2011). In 2012, there were 56 international
co-productions produced.
Movie theater attendance was down for the third year
in a row in 2012. There were 91.2 million admissions,
representing 7.3% less than in 2011. The average
admission price decreased to €6.50 in 2012, compared
to €6.80 in 2011.
Warner Bros. remained the leading distributor in 2012,
thanks to the success of The Impossible and The Hobbit:
An Unexpected Journey. The distributor had revenue of
€134.6 million, representing a market share of 24.0%.
It had five films among the top twenty of the year.
Top independent distributor Aurum Producciones had
revenue of €50.7 million, representing a market share of
9.1%, thanks to its hit The Twilight Saga: Breaking Dawn –
Part 2.
Finland
According to the Finnish Chamber of Films, Finnish movie
theater attendance had 8.5 million admissions in 2012
(+19.0%), the highest level since 1983. National films had
2.4 million admissions for revenue of $29.0 million.
In terms of admissions, the national film share was 28.0%.
There were three national films among the box office’s
top ten. Skyfall took first place with 616,000 admissions
and $7.3 million in revenue. It was followed by Ice Age:
Continental Drift ($3.8 million). The top local film,
Ricky Rapper and Cool Wendy, came in third place
($3.7 million).
Revenue generated by movie theaters in Spain also fell
for the third year in a row to €594.6 million in 2012 (-6.5%).
Attendance for Spanish films grew by 11.8%, and revenue
grew by 14.2% to €115.6 million, the highest revenue in
the history of Spanish box office. In terms of admissions,
the market share for Spanish films grew to 19.3% in 2012,
representing the best results in 27 years. These results
were due to the performance of The Impossible (€42.8 million
in revenue), Tad, the Lost Explorer (€18.3 million) and
I Want You (€12.0 million).
The Impossible was the top-ranked film. It was followed
by The Twilight Saga: Breaking Dawn – Part 2 (€23.2 million).
The top Spanish film came in fourth. It was an animated
film called Tad, the Lost Explorer. There were three
animated films in the Spanish box office’s top ten in 2012.
In 2012, the number of screens declined for the eighth
year in a row. There were 4,000 screens at the end of the
year, compared to 4,044 in 2011.
2003200420052006200720082009 2010 201120121
...............................................................................................................................................................................................
feature-length films produced 110133142150172173186201199182
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4,1404,0824,0804,0444,000
.........................................................................................
screens 4,2534,3904,3834,2994,296
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127.6
. . . . . . . . . . . . . . . . . . . .121.6116.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107.8110.0101.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98.3
. . . . . . . . . . . . . . . . . . . . .91.2
.......
admissions (in million) . .137.5143.9
...............................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671.0662.3635.8594.6
......................................................................
box-office revenue (in €M) 639.4691.6635.0636.2643.7619.3
...............................................................................................................................................................................................
national film share (in %) 2 15.813.412.316.715.513.513.215.615.819.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67.6
. . . . . . . . . . . . . . . . . . . .71.771.669.269.059.8
.......................................................................................
US film share (in %) 2 67.369.760.171.2
...............................................................................................................................................................................................
French film share (in %) 2 2.61.53.92.21.82.12.23.12.26.7
. . . . . . 9.3
. . . . . . . . . . . . . . . . . . . . 9.818.912.815.410.912.212.613.217.8
.....................................................................................................................................................................
European film share (in %) 3 C
Cinema in Spain
Provisional data.
In admissions since 2005.
3
In admissions, not including national films, according to the EAO’s Lumière database.
Source: The CNC, according to the Instituto de la Cinematografía y de las Artes Audiovisuales.
1
2
D
Italy
According to initial estimates from ANICA and Cinetel,
the Italian film production industry continued to grow in
2012 in terms of both volume of films produced and
investments. There were 166 films produced in 2012,
compared to 155 in 2011. The number of 100% Italian
films fell to 129 in 2012 (132 in 2011), and the number of
co-productions increased to 37 films (23 in 2011).
The number of majority co-productions also grew
(20 in 2012, compared to 14 in 2011), as did the number of
minority co-productions (16 in 2012, compared to 9 in 2011).
Total investments grew by 16.6% to €493.1 million in
2012. The average budget of a 100% Italian film also grew
by 1.5% to €1.99 million.
Withdrawal of government funding from production has
continued for four years (-15.3% in 2012). The government
contributed to 56 films in 2012, for a total budget of
€24.4 million. In 2011, the government financed 48 films
for a budget of €28.8 million. Indirect aid contributed 11.0%;
and direct aid contributed 7.0% of capital invested
(8.0% in 2011). Private investments contributed 82.0%
of Italian production financing.
According to Cinetel, 317 Italian films were scheduled
for theaters in 2012, 127 of which were new films,
including co-productions. There were 283 American films
were scheduled, including 130 new films.
According to initial results from ANICA and Cinetel,
theater attendance in Italy fell 9.9% in 2012 to 91.3 million
admissions (101.3 million in 2011). Corresponding revenue
fell 8.0% to €609.0 million (€661.7 million in 2011).
National film market share (including co-productions)
experienced a decrease. It reached 25.2% of revenue
(35.6% in 2011), representing €153.5 million. Italian films
had 24.2 million admissions (38.1 million in 2011) for
a market share of 26.6% in terms of volume.
In terms of admissions, the market share for American
films grew from 46.8% in 2011 to 51.2% in 2012.
American films had 46.7 million admissions, compared
to 47.4 million in 2011. European film market share
(excluding Italy) grew to 18.3% of admissions. Including
Italian films and co-productions, European film market
share reached 44.9% in terms of volume.
Welcome to the North was the top ranked film, with
€27.2 million in revenue. There were two national films
among the top ten with the most revenue, and there were
six among the top 20 films of 2012. Fourteen national
films generated more than €3.0 million in revenue.
It should be noted that French film The Intouchables
was ranked fourth in the Italian box office in 2012,
with 2.5 million admissions.
Warner Bros. dominated distributor rankings in 2012 with
19.1 million admissions and revenue of €134.5 million,
representing market share of 22.1%. The top Italian
distributor, Medusa Film, took second place with
17.4 million admissions and market share of 18.0% in
terms of value.
2003200420052006200720082009 2010 201120121
. . . . . .117134
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98116121154131141155166
...............................................................................................................................................
feature-length films produced . . . . . . . . . . . . . . . . . . . . . . 3,1713,2803,0623,092
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3,1413,2763,2173,8733,814
.........................................................................................
screens 3,038
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111.6
. . . . . . . . . . . . . . . . . . . .111.2120.6101.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91.3
.......
admissions (in million) 110.5116.3105.6106.1116.4
...............................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .676.1772.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661.7609.0
..............................
box-office revenue (in €M) 614.8660.5602.0606.7669.9645.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.526.6
...........................
national film share (in %)2 21.820.325.725.829.328.223.830.4
. . . . . . . . . . . . . . . . . . . . . . . . 61.9
. . . . . . . . . . . . . . . . . . . . 51.959.554.560.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61.6
. . . . . . . . . . . . . . . . . . . .57.246.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51.2
.......
US film share (in %) 2 64.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.13.42.06.0
................................................................
French film share (in %) 2 4.42.53.81.52.14.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.012.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.713.818.3
...............................................
European film share (in %) 3 12.310.719.015.014.9
D
Cinema in Italy
Provisional data.
In admissions since 2005.
3
In admissions, not including national films, according to the EAO’s Lumière database.
Source: The CNC, according to ANICA, Cinetel, Osservatorio Italiano dell’Audiovisivo, Giornale dello Spettacolo.
1
2
14
World Cinema
Norway
According to numbers provided by Film&Kino, movie
theater admissions in Norway grew 4.0% to 12.1 million in
2012. There were 2.2 million admissions for market share
of 17.8%, 6.7 points lower than previously. The top ten films
accounted for 41.0% of total admissions. There were two
Norwegian films among the top twenty in the Norwegian
box office in 2012. Kon-Tiki, a local production, took first
place (881,658 admissions). It was followed by Skyfall
(723,125 admissions) and Ice Age: Continental Drift
(700,236 admissions). The year 2012 was the first
in which all movie theaters were digital. The smaller
theaters appeared to experience the largest growth
(+15.0%, compared to an average of 4% in larger theaters).
Netherlands
According to estimations provided by ScreenDaily, movie
theater admissions in the Netherlands grew by 0.6% to
30.7 million in 2012. Revenue increased 2.2% to €245.4 million
thanks to a 1.5% increase in the average ticket price.
In terms of admissions, the market share for Dutch films
fell 16.3% (-6.1 points). Dutch films had 5.0 million
admissions in 2012. Skyfall topped Dutch box office with
€19.2 million in revenue. There was only one local film
among the box office’s top ten: Family Way (€5.4 million),
which came in fifth place. The French film The Intouchables
took third place with €9.2 million in revenue. All screens
in the Netherlands were digitized in 2012.
Poland
According to initial numbers available, movie theater
admissions in Poland fell 0.6% in 2012. They reached
38.5 million (38.7 million in 2011). According to the
European Audiovisual Observatory, total revenue fell by
0.7% in 2012 to 711.3 million zlotys (€172.3 million).
In terms of admissions, national film market share
dropped to 15.2% (30.4% in 2011). The American film
Madagascar 3: Europe’s Most Wanted took first place in
box office in 2012 with 1.8 million admissions.
Portugal
According to numbers from the Instituto do Cinema e do
Audiovisual (ICA), movie theater attendance in Portugal
fell 12.3% in 2012 to 13.8 million admissions (15.7 million
in 2011). Total revenue fell 7.6% to €73.9 million
(€79.9 million in 2011).
In 2012, there were 292 films scheduled for theaters,
including 138 American and 129 European films.
American films took 73.5% of admissions and 74.7% of
revenue. The market share for European films (including
Portugal) took 16.3% of total admissions (5.4% in 2011).
There were 39 national films produced in 2012, including
15 feature-length films (8 fiction and 7 documentaries)
and 24 short films (11 fiction, 11 animation and 2
documentaries). National film admissions rose, with
a market share of 5.5% in terms of volume and 5.1% in
terms of revenue (0.7% and 0.4%, respectively, in 2011).
Zon Lusomundo Audiovisuais remained the top
distributor in 2012 with seven films among the year’s top
ten. The distributor had 61.7% of the market share in
terms of admissions. It was followed by Columbia Tristar
Warner (16.1%) and Big Picture 2 Films (13.1%). Together,
these three distributors captured 91.0% of the national
market in terms of admissions.
Madagascar 3: Europe’s Most Wanted topped 2012
box office with 632,069 admissions and €3.7 million in
revenue. Skyfall, the only European film in the year’s top
ten, had 465,816 admissions. There were no Portuguese
films among the top ten.
E
United Kingdom
According to numbers from the British Film Institute
(BFI), production in the United Kingdom experienced a
decrease in 2012. The volume of UK production dropped
by 30.1%, and total investments fell 28.5% compared to
2011. This decrease in investments (-39.5%) in inward
investment films (partly-British works whose main
production decision-makers are not British) explains
the historically weak numbers. Conversely, financing of
100% British films grew (+16.2%), as did co-productions
(+17.5%).
The United Kingdom produced 223 films in 2012, for a
total investment of £927.3 million (€1.1 billion). Among
these 223 films, 159 were 100% British, 26 were inward
investment films, and 38 were co-productions. Inward
investment films took 68.0% of total investments
(80.4% in 2011). The volume of 100% British films
decreased, falling from 238 in 2011 to 159 in 2012.
This drop is explained by a reduction in the number of
low-budget films (films with a budget less than
£500,000), which fell from 156 in 2011 to 94 in 2012.
Nevertheless, corresponding investments grew by 16.2%
(£223.5 million in 2012, compared to £192.4 million in
2011). In 2012, there were 26 inward investment films
shot in the UK, mostly by Hollywood studios (34 in 2011),
for a total budget of £630.6 million, compared to £1.0427
billion in 2011.
According to initial estimates, movie theater admissions
in the United Kingdom grew 0.5% in 2012. The year 2012
closed with 172.5 million admissions, compared to
171.6 million in 2011. These were the second best results
since 2002. UK movie theater revenue increased 6.0%
over 2011 to £1.099 billion (€1.28 million).
The top twenty films of 2012 represented nearly 60% of
total revenue. Together, they generated £640.24 million.
For the record, the top twenty films generated 30% of
total revenue in 2007 and 50% in 2011. Three films
earned over £50 million in revenue in 2012 (one in 2011),
three films exceeded the £40 million mark (three in 2011)
and seventeen films earned more than £20 million
(thirteen in 2011).
The British film market share shrank in 2012.
According to initial estimates, it earned 32.1% of revenue,
compared to 36.2% in 2011. It should be noted that this
number includes inward investment films (partly-British
works whose main production decision-makers are not
British), 100% British films and co-productions.
Inward investment films captured 22.9% of revenue, and
British films had 9.2%.
In 2012, the UK had 3,817 screens, representing 1.3%
growth over 2011. Of these screens, 92.7% were digital.
In 2012, distributor rankings were dominated by Sony,
which took in £209.9 million (17.9% of the market share).
Skyfall revenue made up 50.0% of its total sales.
20th Century Fox came a close second, with £191.2
million in revenue and 16.3% of market share. eOne was
the top independent distributor, placing sixth. It was also
the first to earn more revenue than a studio (£80.8 million
for 6.9% of market share).
In the United Kingdom, the 2012 box office was
dominated by action and adventure films. Eight of the top
ten films of the year were sequels or film series.
Skyfall held the top box office position in 2012 with
revenue of £102.3 million. It earned the most revenue at
British box office, ahead of Avatar and Toy Story 3.
Three other films exceeded £50.0 million in revenue in
2012: The Dark Knight Rises, The Avengers and
The Hobbit: An Unexpected Journey. The top British film,
The Woman in Black, placed 16th with £21.3 million in
revenue. As in 2011, there were six inward investment
films among the top twenty films of 2012.
There were 43 3D films released in British theaters in
2012 (47 in 2011 and 28 in 2010). They generated revenue
of £210.9 million, representing a market share of 18.0%
(22.0% in 2011). The Avengers topped box office for films
in relief, with 3D revenue of £30.2 million, representing
58.3% of its global revenue.
2003200420052006200720082009 2010 2011 2012
. . . . . . . . . . . . . . . . . . . . . . . . . .174164134127287325353319223
.....................................................................................................................................................................
feature-length films produced1 196
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3,514
. . . . . . . . . . . . . . . . . . . 3,610
. . . . . . . . . . . . . . . . . . . . 3,651
. . . . . . . . . . . . . . . . . . . . 3,671
. . . . . . . . . . . . . . . . . . . . 3,767
. . . . . . . . . . . . . . . . . . . . 3,817
..........
screens . .3,3163,3423,3573,440
. . . . . . . . . . . . . . . . . . . .171.3164.7156.6162.4164.2173.5169.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171.6172.5
.............................
admissions (in million) . .167.3
...............................................................................................................................................................................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,040.0
. . . . . . . . . . . . . . . . . . . . 1,099.0
..............
box-office revenue (in £M) 742.0770.0770.0762.0821.0849.5943.8988.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19.128.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.116.724.036.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32.1
.......
national film share (in %) 2 15.923.433.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77.167.765.281.071.860.161.5
...............................................................................................................................
US film share (in %) 2 73.573.263.1
...............................................................................................................................................................................................
European film share (in %) 2 2.10.61.61.21.82.31.22.11.74.8
E
Cinema in the United Kingdom
¹ For a long time, the BFI used a minimum threshold of £500,000 for its studies on British production.
Works below this level were not counted. However, the sharp increase in the number of films produced at a cost
below this threshold resulted in a change to the minimum threshold for counting productions.
Thus since 2008, films financed with budgets below £500,000 have been included in the film production count.
2
In revenue. Includes films produced with American investments.
Source: The CNC, according to the British Film Institute (BFI), Nielsen EDI, Cinema Advertising Association.
14
World Cinema
F
Russia
According to data published by Variety, revenue
generated by movie theaters in Russia grew 14.0% in
2012. They reached $1.2 billion (€900 million).
Attendance grew 5.8% to 168.8 million admissions.
In 2012, for the third time in a row, the attendance index
was greater than one admission per resident.
Russia had 3,142 screens in 2012, representing 14.9%
growth over 2011.
There were 74 national films released in 2012, generating
total revenue of $187 million, which represented 15.1%
of the market share (15.8% in 2011).
First place at the box office was taken by Ice Age:
Continental Drift with revenue of $50.1 million (€37.6 million).
It was followed by Madagascar 3: Europe’s Most Wanted
($49.4 million) and The Hobbit: An Unexpected Journey
($43.7 million). The top national film, Three Warriors on
Far Shores, came in eighth with $30.9 million in revenue.
As in 2010 and 2011, there was only one Russian film
among the year’s top ten. There were also seven films
shown in 3D among the top ten films of the year.
In 2012, 145 films exceeded the one million dollar mark in
terms of revenue, compared to 154 in 2011. Forty-one
films earned over $10 million (30 in 2011 and 26 in 2010).
One film earned more than $50 million. As in 2011, no
films exceeded $100 million.
Thanks to the success of The Avengers and Men in Black 3,
the American distributor Walt Disney Studios Sony
Pictures Releasing (WDSSPR) held onto first place in
distributor rankings in 2012. With 28 films released and
revenue of $311.2 million, the studio captured a market
share of 26.3%. The independent Russian distributor
Karo Premier trailed behind in second place and released
hits such as The Hobbit: An Unexpected Journey and
The Dark Knight Rises in 2012. With 27 films released
and revenue of $159.8 million, its market share reached
13.5%. Five distributors earned more than $100 million in
revenue and one exceeded the $200 million mark (WDSSPR).
Sweden
According to data from the Swedish Film Institute,
admissions in Sweden came to 18.4 million in 2012,
representing an increase of 11.8% over 2011. In terms of
admissions, the market share for Swedish films rose
2.2 points to 22.0%. Market share for American films
came to 59.8% (a 4.9 point decrease). Skyfall led box
office in 2012 with €13.5 million in revenue. It was followed
by The Hobbit: An Unexpected Journey (€132.2 million),
which was still being shown in 2013. The top Swedish
film, Hamilton: In the Interest of the Nation, came in sixth
place at the box office. It should also be noted that the
French film The Intouchables came in last in the top 10.
feature-length box-office
filmsadmissions attendance
revenue
produced1 screens(in millions)
index (in US$M)
European
film share
(in %) 2
. . . . . . . . . . . . . . . . . . . . . .6261168,0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0,47172,0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n.d.
.......
2003 . . . . . . . . . . . . . . . . . . . . . .51816
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67,4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0,47242,5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n.d.
.......
2004 2005 .............................................................................................................................................................
2006 .............................................................................................................................................................
62
1 079
83,6
0,58
321,6
12,3
61
1 333
91,8
0,64
421,9
29,4
26,0
2007 .............................................................................................................................................................
2008 .............................................................................................................................................................
2009 .............................................................................................................................................................
2010 .............................................................................................................................................................
2011 .............................................................................................................................................................
2012 .............................................................................................................................................................
F
78
1 575
106,6
0,75
565,0
78
1 909
123,9
0,87
830,0
25,7
76
2 133
138,5
0,98
735,7
23,9
70
2 430
165,5
1,17
1 057,4
14,5
110
2 734
162,0
1,08
1 155,0
15,8
102
3 142
168,8
1,10
1 200,0
15,1
Cinema in Russia
¹ 100% national films.
2
In revenue.
Source: The CNC according to the EAO’s database and NEVA Films.
G
UNITED STATES
According to numbers from the Motion Picture
Association of America (MPAA), movie theater
admissions in North America (United States/Canada)
grew in 2012 (+6.2%) to 1.36 billion, after two years of
decline. The attendance index rose to an average of 4.1
admissions per year per resident in 2012 (3.9 in 2011).
Revenue grew 6.0%. It rose from $10.2 billion (€7.6 billion)
in 2011 to $10.8 billion (€8.4 billion) in 2012. The average
ticket price remained stable at $7.96 (€6.20) in 2012
($7.93 in 2011).
Revenue from films shown in 3D remained stable in 2011
($1.8 million), despite fewer 3D films being released.
The total number of screens grew slightly in 2012
(+0.7%). There were 39,918 screens listed in the United
States (39,641 in 2011). There were 7,647 screens in
theaters with one to seven screens and 32,271 screens in
multiplexes with eight screens or more. Digitization of
screens continued at a fast clip in 2012. Digital screens
represented 83% of screens in the country. More than
6,500 screens were equipped for 3D during the year.
The 13,559 3D screens available represented just under
half of the total digital screens in the United States.
Sony/Columbia dominated the 2012 distributor rankings
In 2012, the major film studios continued betting on
in the American market with 25 films distributed,
sequels as a sure thing. There were six sequels in the
revenue of $1.79 billion and a market share of 16.6%,
year’s top ten films. There were four 3D films among the
thanks in large part to the success of Skyfall and
top ten. The Avengers ranked first among films in 2012,
The Amazing Spider-Man. These two films ranked among
with revenue of $623.4 million (€485.7 million). The number
the top ten. The distributor had five films among the top
of films earning more than $100 million remained stable:
twenty of the year.
31 films in 2012, 30 in 2011 and 30 in 2010. The number of
The North American market remained insufficient to turn
films earning between $100 million and $200 million in
a profit from films produced by the major studios. In 2012,
revenue dipped from 23 to 20. Six films earned between
the market only generated 31.1% of total revenue earned
$200 million and $300 million (5 in 2011). Five films
by American productions distributed in theaters.
exceeded $300 million (2 in 2011).
World revenue for American films grew 6.4% and reached
$34.7 billion in 2012 (€27.1 billion). Revenue from abroad
for American films rose 6.7% in 2012, reaching $23.9
billion (€18.7 billion), compared to $22.4 billion in 2011.
This represented 68.9% of world revenue, a higher
proportion than in previous years.
Overseas, six companies that are members of the MPAA
earned at least $1 billion for the fourth consecutive year.
Sony also topped distributor rankings abroad in 2012
with revenue of $2.7 billion, thanks to the performance of
Skyfall, The Amazing Spider-Man and Men in Black 3.
These three films ranked among the top ten of the year
feature-length box-office European
abroad.
films admissionsattendance revenue film share
produced1
In 2012, the number of films produced in the United
States by studios that were members of the MPAA was
at its lowest level in five years. There were 99 films
produced, compared to 139 in 2007. Companies that are
not members of the MPAA produced 377 films
(the budgets of which were greater than or equal to $1 million),
compared to 399 in 2011. Only 10% of their productions
cost more than $20 million in 2012.
screens
(in millions) 2
index2
(in US$M)
(in %)3
2003 . . . . . . . . . . . . . . . . . . .59336,146
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,520
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.9
. . . . . . . . . . . . . . . . . . . . . 9,165
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.3
.....
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,500
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.8
. . . . . . . . . . . . . . . . . . . . . 9,215
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.7
.....
2004 . . . . . . . . . . . . . . . . . . . .61136,594
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,380
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.4
. . . . . . . . . . . . . . . . . . . . .8,832
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.1
.....
2005 . . . . . . . . . . . . . . . . . . . 92038,852
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,400
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.4
. . . . . . . . . . . . . . . . . . . . .9,200
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.2
.....
2006 . . . . . . . . . . . . . . . . . . . 92838,415
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,400
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.4
. . . . . . . . . . . . . . . . . . . . .9,629
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8.9
.....
2007 . . . . . . . . . . . . . . . . . . . 78938,974
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,340
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.2
. . . . . . . . . . . . . . . . . . . . .9,600
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.3
.....
2008 . . . . . . . . . . . . . . . . . . .77338,834
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,420
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.3
. . . . . . . . . . . . . . . . . . 10,600
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.0
.....
2009 . . . . . . . . . . . . . . . . . . . 75139,233
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,340
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.1
. . . . . . . . . . . . . . . . . . 10,600
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.5
.....
2010 . . . . . . . . . . . . . . . . . . .79539,547
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,280
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.9
. . . . . . . . . . . . . . . . . . 10,200
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .nd
....
2011 . . . . . . . . . . . . . . . . . . . 81839,641
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1,360
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.1
. . . . . . . . . . . . . . . . . . 10,800
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .nd
....
2012 . . . . . . . . . . . . . . . . . . . . . nd39,918
The number of new films released rose in 2012. A total of
677 films were distributed in American theaters (609 in
2011), 36 of which were in 3D (45 in 2011). The major film
studios distributed 128 new films in 2012. Independent
studios distributed 81 films more than in 2011 (549 films,
compared to 468 in 2011). Six distribution companies
earned at least $1 billion in 2012 (5 in 2010 and in 2009).
G
Cinema in the United States
NB: Data records were partially updated by the MPAA.
¹ These numbers include films that were never released in theaters. Data has been updated
by the MPAA since 2005. In contrast to previous years, production numbers include all films
undertaken by an American company during the year under consideration, including
co-productions. Documentaries are excluded.
2
United States and Canada.
3
In admissions, according to the EAO’s Lumière database.
Source: The CNC according to the Motion Picture Association of America.
14
World Cinema
LATIN AMERICA
Brazil
According to number from Filme B, movie theater
attendance and revenue in Brazil rose for the fourth year
in a row in 2012. Admissions reached 147.9 million,
representing an increase of 5.0%, and revenue totaled
802.9 billion Brazilian reals (€600 million), 16.0% more
than in 2011. This growth was spurred by the 191 new
screens added to the total count during the year.
The average ticket price rose to $5.30 (€4.05), an increase
of 10.1%. This rise is explained by the growing number of
films shown in 3D in Brazil.
Brazilian films generated 15.3 million admissions, a
14.5% drop compared to 2011. The market share for
national films was 9.5% of total revenue in 2012 (11.8% in
2011).
The Avengers dominated the 2012 box office with €47.8 million
in revenue, ahead of The Twilight Saga: Breaking Dawn –
Part 2 ($29.0 million) and Ice Age: Continental Drift.
The top Brazilian film, Até Que A Sorte Nos Separe,
generated €12.7 million and ranked 11th at the box office.
Sony dominated distributor rankings with €95.5 million in
revenue in 2012. It was followed by Fox (€89.2 million)
and Disney (€74.8 million). The top local distributor, Paris
Filmes, came in 4th with €74.2 million in revenue thanks
to the success of The Twilight Saga: Breaking Dawn – Part 2.
Colombia
According to the association ProImagenes Colombia,
movie theater attendance in Colombia increased 7.3%
in 2012 and reached 40.8 million admissions.
The average movie ticket price rose to $4.50 (€3.50).
In terms of admissions, the market share for national
films grew to 13.0% (7.8% in 2011). There were 213 films
shown in 2012, 23 of which were Colombian films.
In 2012, the number of screens in the country grew by
9.5% to 704 screens across 164 venues. Cine Colombia,
the top independent operator/distributor, captured
46.0% of admissions.
Three of the top five films at the box office in 2012 were
3D films. Ice Age: Continental Drift topped film rankings in
2012 with $14.0 million in revenue (€10.9 million).
Mexico
According to estimates from the Chambre nationale du
cinema (Canacine), revenue generated by Mexican movie
theaters rose 9.4% to $841 million (€626.0 million) in 2012.
Movie theater attendance rose sharply to 228.2 million
admissions (+11.4%). This good news is explained by
the release of many films with strong potential and by the
2.7% increase in the number of screens, to 5,303 screens
(5,166 in 2011). Half of screens were digital.
In 2012, there were 67 national films distributed. Colosio:
El Asesinato generated €4.5 million in revenue. Out of the
top ten national films in 2012, eight generated more than
$2 million in revenue (seven in 2011). Ten earned at least
$1 million. The market share for national films reached
4.8% of total revenue in 2012 (7.0% in 2011).
The Avengers topped the box office (€47.2 million),
followed by Ice Age: Continental Drift (€35.8 million).
The top Mexican film, Colosio: El Asesinato, came in 47th
at the box office. Eight Mexican films exceeded the
$2 million mark in revenue.
The major American studios dominated the distribution
sector. They scheduled nine of the ten films that
generated the most revenue in 2012 (a film released by
independent distributor Corazon Films came in fourth).
ASIA
China
According to the State Administration for Radio, Film and
Television (SARFT), revenue generated by movie theaters
in China rose 30.1% in 2012. They reached 17.8 billion
yuan (€2.23 billion), compared to 13.1 billion yuan in 2011.
China surpassed Japan to become the second largest
world market in terms of movie theater revenue, behind
the United States.
The market share for national films (China and Hong
Kong) reached 45.0% for $1.3 billion in revenue in 2012.
Foreign films generated $1.4 billion in revenue.
For the first time in the history of the Chinese box office,
the majority of revenue generated came from imported
films. This is explained by the Chinese government’s
decision in February 2012 to increase the quota for
foreign films authorized in the country. The quota was
raised from 20 to 34 films.
In 2012, 893 works were produced, compared to 791 in
2011. 745 fiction films, 33 animations, 15 documentaries,
74 educational programs and 26 miscellaneous
programs were produced.
The top-ranked film in theaters in terms of revenue was
Titanic 3D (€118.4 million). It was followed by a local film,
Lost in Thailand (€117.0 million). There were two other
national films among the top ten at Chinese box office in
2012: Painted Skin: The Resurrection (€88.0 million) and
Chinese Zodiac ($60.2 million). Five films earned more
than $100 million in revenue.
There were 13,118 movie screens in 2012. Four hundred
thirty-nine venues opened during the year, offering
3,832 new screens.
South Korea
According to preliminary numbers from the Korean Film
Council (KOFIC), movie production activity continued
to grow in 2012. There were 229 works produced
(216 in 2011). Investments in production of films for
theaters (175 in 2012, compared to 150 in 2011) reached
355.3 billion won (€246.5 million), 1.5% lower than 2011.
The average cost of a Korean film was 2.0 billion won
(€1.4 million) in 2012, 1.34 billion won of which went to
production costs (+9.1%) and 690 million won of which
were spent on publishing copies and costs for advertising
(-4.2%). Expenses for publishing costs thus represented
34.0% of a film’s total budget, a larger proportion than in
2012 (31.7%).
Following the growth experienced in 2011, movie theater
attendance in South Korean continued to grow in 2012.
According to initial estimates from KOFIC, admissions
rose 8.8% and reached 173.8 million admissions, compared
to 159.8 million in 2011. Seoul, the country’s capital,
had more than 28.5% of total admissions (49.5 million).
The attendance index rose to 3.8 admissions per year
per resident in 2012. Revenue grew 5.3% to reach
1.3016 trillion won (€918.9 million).
Films in 3D are becoming less popular. In 2012, there were
49 3D films scheduled, compared to 22 in 2011.
They generated 9.6 million admissions (5.5% of total
admissions, compared to 11.7% in 2011).
In 2012, movie theaters in South Korea experienced
growth for the first time since 2007. At the end of 2012,
there were 2,081 screens with 358,659 seats operating
across 314 venues (1,984 screens in 295 venues in 2011).
In 2012, the top four multiplex exhibitors had a total of
1,851 screens, representing 88.9% of the total count.
There were 495 films shown in 2012, 426 of which were
new. One hundred sixty-one of them were Korean films,
138 were American and 102 were European. Of these,
140, 117 and 87, respectively, were new films.
National films remained the majority in the Korean
market. With 59.8 million admissions, they captured
58.6% of the market share in 2012 (53.6% in 2011).
Korean and American films together accounted for
92.6% of total admissions. Japanese films earned 4.9%
of admissions and Chinese films had 0.5%.
European films took 1.4% of admissions. Market share
for films from other countries came to 0.6% in 2012.
Local distributor CJ E&M Corporation maintained its top
position in distributor rankings in 2012, with 43 films
distributed. It earned 30.2% of admissions and 27.2% of
total revenue. It also had three films among the top ten
of the year: Masquerade, A Werewolf Boy and Deranged.
It was followed by another local distributor, Skowbox/
Mediaplex, who distributed 11 films. Showbox/Mediaplex
released The Thieves, which topped Korean box office
rankings in 2012.
The Thieves, a national production, came in first at the
box office with 13.0 million admissions and revenue of
93.6 billion won. In 2012, two Korean films (The Thieves
and Masquerade) earned more than ten million admissions.
No film surpassed this number in 2011. There were seven
Korean films among the top ten of the year. Nineteen
Korean films had more than two million admissions in 2012.
Twenty-seven had more than one million admissions.
Hong Kong
According to the Motion Picture Industry Association
(MPIA), movie theater revenue in Hong Kong grew 12.2%
in 2012 to HK$1.6 billion (€157.0 million), compared to
HK$1.4 billion in 2011.
These results were attributed to the success of American
films shown in 3D and to the performance of several
national films. There were 300 films released in theaters
in 2012 (276 in 2011), including 56 national films (50 in 2011).
The Avengers was the top ranked film, with revenue of
$12.5 million. It was followed by The Dark Knight Rises
($10.3 million) and The Amazing Spider-Man ($8.6 million).
There was one national film in the top ten: Cold War
($5.5 million).
India
According to a report from KPMG, movie theater revenue
in India rose 23.8% in 2012 to 85.1 billion rupees (€1.2 billion),
compared to 68.8 billion rupees in 2011. This growth was
spurred by the 152 new screens added to the total count
during the year and to the success of national films like
Vicky Donor, Kahaani and OMG: Oh My God! In India, 77%
of screens were digital.
The market share for American films came to 8.5% of
revenue in 2012. Nine national films earned more than
one billion rupees in revenue, the best results ever
recorded. The top twenty national films generated
18.8 billion rupees, representing 22.1% of total revenue.
14
World Cinema
H
Japan
According to numbers from the Motion Picture Producers
Association of Japan (MPPAJ), after the contractions
experienced in 2011 due to a string of natural disasters,
Japan’s film industry grew in 2012.
The number of screens dipped slightly in 2012 (-1.5%).
There were 3,339 in 2011 and 3,290 in 2012. At the end of
2012, there were 2,765 screens operating in multiplexes,
representing 84% of the total count.
The number of films distributed reached a new record.
There were 983 films scheduled for Japanese screens in
2012 (799 in 2011). Of these, 554 were Japanese films and
429 were foreign films. For the seventh year in a row,
there were more national films released than films imported.
Attendance rose 7.2% in 2012. Admissions totaled
155.2 million, compared to 144.7 million in 2011.
However, this number was still lower than the period
before the natural disasters. Movie theater revenue also
grew (+7.7%). It rose from ¥181.2 billion in 2011 to ¥195.2
billion in 2012 (€1.6 billion). In 2012, there were more films
that exceeded one billion yen than previously.
Nevertheless, there were no foreign films with strong
potential. In all, 39 local films and 19 foreign films earned
at least one billion yen. Only six films earned more than
¥4 billion, compared to eight in 2011.
The market share for national films continued to grow;
in 2012, it reached levels not seen since 1965.
Japanese films generated ¥128.2 billion in revenue
in 2012, capturing 65.7% of the market share
(54.9% in 2011). The market share for foreign films dropped
sharply, with ¥67.0 billion and 34.3% of revenue in 2012.
Distributor rankings were dominated by a Japanese
company. Toho came in first for the tenth consecutive
year. It distributed sixteen of the top twenty Japanese
films of the year, including six in the top ten. These six
films all earned more than ¥3 billion. The top three films
at the box office were distributed by Toho.
The top three spots at the 2012 box office were taken
by Japanese films. As in 2011, none of them earned
more than ¥10 billion in revenue. Brave Hearts: Umizaru
topped rankings with revenue of ¥7.3 billion. It was
followed by Thermae Romae (¥6.0 billion) and The Bayside
Shakedown the Final (¥6.0 billion). There were seven
Japanese films among the top ten of the year. The top
foreign film, an American film, Mission: Impossible –
Ghost Protocol, was ranked fourth with revenue of
¥5.4 billion.
With the rise of the Chinese market, Japan fell to third
place in terms of world film revenue.
I
OCEANIA
Australia
According to numbers from Screen Australia, the volume
of Australian movie production and the volume of
investments were up in 20121. The total number of films
produced (100% Australian films, co-productions and
foreign films that were shot in Australia and that began
production during the year) totaled 48 feature-length
films. There were 35 feature-length films in 2011. In 2012,
there were 28 100% Australian and co-production films,
more than the 21 films produced in 2011. Their total
budget came to A$360 million (€288.6 million), A$296
million of which was invested in Australia. Investment
volume grew sharply (+195%) and surpassed average
investments in Australian movie production over the last
five years (A$289 million).
There were four co-production films produced in 2012,
for a total investment of A$44 million (A$32 million of
which was invested in Australia), compared to A$67
million in 2011 (A$37 million invested in Australia).
The 2012 budget for co-productions matched the average
over the last five years (A$45 million).
national films admissionsattendance
revenue national film
released
screens (in millions)
index (in ¥ billion) share (in %) 1
2003 . . . . . . . . . . . . . . . . 2872,681
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . .203.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33.0
........
2004 . . . . . . . . . . . . . . . . .3102,825
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 210.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37.5
.......
2005 . . . . . . . . . . . . . . . . 3562,926
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 198.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41.3
.......
. . . . . . . . . . . . . . . . .4173,062
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 202.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53.2
........
2006 . . . . . . . . . . . . . . . . 4073,221
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 198.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47.7
.......
2007 . . . . . . . . . . . . . . . . .4183,359
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 194.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59.5
........
2008 . . . . . . . . . . . . . . . .4483,396
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169.3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . .206.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56.9
........
2009 . . . . . . . . . . . . . . . .4083,412
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 220.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53.6
........
2010 . . . . . . . . . . . . . . . . 4413,339
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . .181.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54.9
........
2011 . . . . . . . . . . . . . . . .5543,290
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
. . . . . . . . . . . . . . . . . . . . . 195.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65.7
.......
2012 H
Cinema in Japan
1
In revenue.
NB: American films captured about 95% of revenue earned by all foreign films.
Source: The CNC according to the Motion Picture Producers Association of Japan - EIREN.
Three foreign films began shooting in Australia in 2012.
From Sydney with Love (India), Destination Kathmandu
(Nepal) and Hayabusa: The Long Voyage Home (Japan)
generated at least A$3 million in investments in Australia.
In 2011, two Hollywood productions (Love in Space and
Mr Perfect) generated fewer foreign investments (A$1 million).
Furthermore, 17 foreign films began work on
post-production, digital production and special effects
(PDV) in Australia in 2012, for a total value of A$40 million
(+A$4 million compared to the previous year).
In all, there were 20 foreign films that generated activity
and sales (A$41 million) for the Australian film industry in
2012 (14 films and A$31 million in 2011).
27 Australian films generated revenue of A$47.9 million
(€39.0 million), representing market share of 4.3%
(A$42.9 million and 3.9% in 2011). National market share
has not exceeded 5% since 2001.
The Avengers was the top ranked film in 2012, with
revenue of A$53.3 million (€43.4 million). There were no
Australian films among the top ten films of 2012. The top
local film, The Sapphires, ranked 25th with revenue of
A$14.4 million. The top ten films at the box office took
31.2% of global revenue in 2012.
Production statistics run from June to June. The year 2012 refers to
July 2011-June 2012. The year 2011 refers to July 2010-June 2011.
1
Initial estimates from the Motion Picture Distributors
Association of Australia indicate slight growth in
admissions and revenue in 2012. The country’s 1,995 active
screens (including 1,436 digital ones) earned 85.8 million
admissions, compared to 85.0 million in 2011 (+0.9%).
Revenue grew by 2.8% to A$1.1255 billion (€917.3 million).
The average ticket price rose 1.0%, reaching A$13.10
(€10.70).
feature-lengthadmissions attendance
films1screens(millions)
index
AFRICA
revenue
(in A$M)
national film
share (in %)2
2003 . . . . . . . . . . . . . . . . . . . . . .231,907
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.5
. . . . . . . . . . . . . . . . . . . . .865.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.5
.....
2004 . . . . . . . . . . . . . . . . . . . . . .291,909
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.6
. . . . . . . . . . . . . . . . . . . . . 907.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1.3
.....
. . . . . . . . . . . . . . . . . . . . . .381,943
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.0
. . . . . . . . . . . . . . . . . . . . . .817.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2.8
.....
2005 . . . . . . . . . . . . . . . . . . . . . .361,964
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.0
. . . . . . . . . . . . . . . . . . . . .866.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.6
.....
2006 . . . . . . . . . . . . . . . . . . . . . .36
. . . . . . . . . . . . . . . .1,941
. . . . . . . . . . . . . . . . . . . . . . . . . .84.74.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .895.44.0
........................................
2007 . . . . . . . . . . . . . . . . . . . . . .451,980
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84.6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.0
. . . . . . . . . . . . . . . . . . . . .945.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.8
.....
2008 . . . . . . . . . . . . . . . . . . . . . .471,984
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90.7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.1
. . . . . . . . . . . . . . . . . .1,087.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5.0
.....
2009 . . . . . . . . . . . . . . . . . . . . . .511,994
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.2
. . . . . . . . . . . . . . . . . . 1,132.9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.5
.....
2010 . . . . . . . . . . . . . . . . . . . . . .351,991
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85.0
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.81,093.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.9
.....
2011 . . . . . . . . . . . . . . . . . . . . . .481,995
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85.8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3.8
. . . . . . . . . . . . . . . . . . 1,125.5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4.3
.....
2012 I
New Zealand
According to numbers from the Motion Picture
Distributors’ Association (MPDA), revenue generated by
New Zealand movie theaters reached NZ$173.1 million
(€107.5 million) in 2012 (+7.0% over 2011). This was the
second best result in the history of the New Zealand box
office.
The Avengers took the top spot at the box office
(NZ$8.8 million), followed by Skyfall (NZ$6.4 million) and
The Hobbit: An Unexpected Journey (NZ$6.1 million).
The top ten films at the box office in 2012 earned a total
of NZ$57.4 million (€35.5. million) in revenue and took
33.2% of global revenue.
In 2012, New Zealand had 407 screens, 57% of which
were digital.
Cinema in Australia
Morocco
According to numbers from the Moroccan Film Center’s
“2012 Annual Film Report,” Moroccan movie theaters had
2.011 million admissions in 2012, compared to 2.248 million
in 2011, a drop of 10.6%. Conversely, revenue grew by
2.0% to 69.17 million dirhams (€6.2 million), compared
to 68.05 million in 2011. Market share for national films
grew in 2012. The number of Moroccan films shown also
rose (47 in 2012, compared to 38 in 2011), generating
33.9% of admissions and 27.9% of revenue, compared to
19.8% and 18.3%, respectively, in 2011. The market share
for American films rose to 42.5% of admissions and
51.3% of revenue (40.7% and 46.8%, respectively, in 2011).
Market share for Egyptian films fell 8.0 points to 7.2% of
admissions (15.0% in 2011). One Moroccan film, Road to
Kabul, topped box office in 2012 with 230,519 admissions
and revenue of 7.8 million dirhams (€700,000). There were
four Moroccan films among the top ten films of the year
and seven among the top twenty. The top thirty films at
the box office took 46.2% of admissions and 57.1% of
revenue.
¹ Including foreign films shot in Australia.
2
In revenue.
Source: The CNC according to Screen Australia, Motion Picture Distributors Association of Australia.
The End by Lætitia Masson.
© Mémo Prod. Project receiving new
media assistance from the CNC.
The Pirogue by Moussa Touré. © Film receiving an advance
on earnings, Franco-German coproduction assistance,
and feature-length film music assistance from the CNC.
Renoir by Gilles Bourdos. © Mars Distribution.
Film receiving an advance on earnings from the CNC.
L’Écrin du Rajah © Collection CNC-AFF. Film restored by the CNC French Film Archives.
Pina by Wim Wenders. © Les Films du Losange.
Film from the « Collège au cinéma » (“Middle School Cinema”) program.
The Day of the Crows by Jean-Christophe Dessaint. © Gebeka Films.
Film receiving feature-length film project development assistance,
an advance on earnings, and new production technology assistance from the CNC.
Rebound. © Haut et Court / Canal+. Film receiving an audiovisual aid
(preparation assistance) and support new media.
Avant que de tout perdre by Xavier Legrand.
© KG Productions. Short film receiving pre-production
assistance (financial contribution) from the CNC.
Microwd 2 © Goalem. Project receiving RIAM assistance.
15
Public Funding
The CNC promotes the growth of the film, television and multimedia sectors
through the support funds that it manages.
Its public policy has two main goals: to ensure the strong presence
of French and European works in our country and abroad and to contribute
to the diversity and renewal of creation and broadcasting.
Spending for CNC support of film, television and multimedia totaled €770.36 million in 2012.
The Lunchbox by Ritesh Batra. © Asap Films. Film receiving World Cinema Support.
Edmond was a Donkey by Franck Dion. © Papy 3D Productions.
Short film receiving new production technology assistance from the CNC.
15
Public Funding
A
In the film sector, the CNC provides automatic and selective
support for production, distribution and broadcast
of works. It also finances the film education policy for
young audiences. Its goal is the conservation and promotion
of film heritage. In the television sector, CNC’s goal
is to promote, via automatic and selective support,
the production and creation of French and European
television works to be broadcast on television channels
and new media. The CNC also supports creation of digital
content for new media and promotes development
of multi-platform content. The CNC transversally supports
technical industries and innovation; it provides support
in favor of video and video on demand production,
contributes to the promotion of film and television programs
abroad, participates in financing aimed at supporting
regional French film and television production and
contributes to the bank loan guarantee fund established
by the Institut pour le financement du cinema et des
industries culturelles (IFCIC). The CNC also particularly
supports the sectors of cinema and television shifting
toward digitalization. A multi-year investment plan
was established in late 2010 to that end.
CNC’S FILM SUPPORT FUND
In 2012, cinema, television and multimedia aid was
financed by the support fund, by credits from the digital
reserve created for this purpose during previous financial
years and by the repayment of advances.
The support fund was financed by the contribution
of three taxes directly allocated to the CNC since January 1,
2009: the tax on movie theater admissions (TSA), the tax
on television service publishers’ and distributors’ revenue
(TST) and the tax on video and video on demand (VoD).
The CNC has been responsible for the collection
of the TSA since January 1, 2007 and of the TST since
January 1, 2010, with the video and VoD tax being collected
by Directorate General of Public Finance (DGFiP).
The 2012 Finance Act (article 46), provided for a reduction
of the TST owed by television services distributors
beyond a ceiling of €229 million. In 2012, the gross tax
revenue allocated to the support fund amounted to
€749.45 million (-7% compared to 2011, i.e., -€56 million).
This significant decrease in tax revenues in 2012 can
be largely explained by the drop in TST income compared
to 2011 (-9%), due to both television service producers
(-4%) and distributors (-13%). Given the repayment
of €49.96 million to the State budget, net tax revenue
actually collected amounted to €699.49 million
(€805.80 million in 2011, i.e., a substantial drop
of €106.31 million).
After taking management costs into account, tax revenue
was €664.45 million in 2012. It should be noted that
the management fees total was €35.04 million, i.e.,
€6.9 million less than in 2011. Effectively, the management
fees level went from 5.6% in 2011 to 5.0% in 2012.
The reform in TST owed by television service distributors,
pursued in 2011, was adopted in the 2012 Finance Act.
It enables clarification of the base of this tax, which
includes all sums paid to access television services
and facilitates an understanding of current changes
in means of access to television services (broadband
and high-speed home and mobile Internet subscriptions
with or without specific television services subscriptions).
The text of this reform, which must be authorized
by the European Commission before taking effect,
has been the subject of numerous exchanges between
French and community authorities. The government
decided to submit a new text to the Commission for this
fundamental reform in cinema, television and multimedia
financing.
In 2012, total support was €770.36 million. Automatic
support generated €365.73 million (-1.6% compared to
2011) and selective support (excluding digital) generated
€358.19 million (+€30.9 million compared to 2011).
It should be remembered that since 2010 the support
fund has financed initiatives previously covered
by budgetary funds of the Ministry of Culture
and Communication: broadcasting initiatives aimed
at certain audiences, restoration initiatives for old films,
European programs and international initiatives. It also
financed the grants allocated to the Cinémathèque
Française since 2011 (nearly €20 million) and the grants
allocated to ENSMIS (FEMIS) since 2012 (€9 million).
In 2012, the implementation of the investment plan
favoring digitalization continued (€46.44 million). These
expenditures were financed by the digital reserve
established by the CNC for this purpose during previous
financial years. It is this reserve that will be affected
by the €150 million deduction decided in the initial
Finance Act for 2013.
management costs
€35.04 million
net total
2012
€664.45
million
repayment
to the State
(reduced share
from distributor
TST) €49.96 million
A
TSA
€144.03 million
TST
(TV producer
& distributor tax)
€574.46 million
video & VoD tax
€30.95 million
other receipts
€0.006 million
CNC – support fund receipts1
1
Executed in 2012.
CNC support 2012: €770.36 million
cinema
€323.29 million
television
€291.19 million
digital cinema
€46.44 million
transversal
support
€109.45 million
automatic support
€161.88 million
selective support
€161.41 million
automatic support
€199.57 million
selective support
€ 91.61 million
automatic support
€4.28 million
selective support
€105.17 million
production
€72.63 million
Production &
creation
€50.73 million
production
€199.57 million
production
& creation
€91.61 million
video
€4.28 million
technical
industries
€7.61 million
distribution
€23.99 million
distribution
€9.00 million
video & VoD
€ 5.12 million
exhibition
€65.27 million
exhibition
€72.82 million
innovation &
video games
€9.63 million
broadcasting
€28.87 million
promotion &
exportation
€26.82 million
other €56 million
(including
regional funds:
€16.22 million)
A
CNC support1
1
Selective support: 2012 financial engagements;
automatic support: royalties.
15
Public Funding
CINEMA SUPPORT
B
The support described in the rest of the chapter was
what was actually distributed in 2012.
CNC initiatives in support of the feature film industry
comprise four main parts: support for creation, production,
distribution and broadcasting of works intended for
the widest of audiences and support for the preservation
and restoration of film and film heritage.
Film production tax credit
The film production tax credit exempts a production
company, under certain conditions, from paying tax
on 20% of certain («eligible») production expenses from
taxation, up to a limit of €1 million per film.
The tax credit is subject to the issue of a provisional
certificate, and then a final certificate of approval.
The final certificate, however, can only be issued if the
work has already been issued a production approval
certificate for CNC financial support, certifying
its definitive granting.
In 2012, of the 209 French initiative films that received
investment approvals for financial support purposes,
121 requested provisional tax credit approvals. Total
eligible expenses for these 121 films were estimated
at €307.70 million and would reach an overall film tax credit
(fiscal expenditure) of approximately €55.50 million.
The 2013 Finance Act changed the tax credit provision
in favor of cinematographic production by moving
the ceiling per film up to €4.00 million and by including
storage, transport, lodging and food expenses as eligible
expenditures. These new provisions, once authorized
by the European commission, will go into effect upon
the issuing of the implementation order.
SUPPORT
OBJECTIVES
2012 RESULTS
writers, supported
or unsupported by producers
_ script writing
_ script rewriting
_ conception support
€1.61 million for 25 scriptwriting
grants and 17 rewriting grants
and 50 of conception support.
support for the development
of feature films
producers
to back financial commitments
made by production companies for
scriptwriting and buying film rights
€3.65 million for 132 projects
presented by 103 companies.
Associations financed by the CNC (creation, promotion and guidance for writers, professional training):
Groupe de Recherche et d’Essai Cinématographique (GREC), Emergence, Abominable, Périphérie, Association des cinéastes documentaristes (ADDOC),
Tribudom, Gindou Cinéma, FilmDocumentaire.fr, Sopadin, Vidéadoc, Atelier du Cinéma Européen (A.C.E).
B
Support for film creation
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
automatic support for film producers
producers of feature films
to produce feature or short films
€45.07 million raised, of which
€0.53 million used to repay loans,
€7.50 million for preparation
assistance1 and €37.04 million
for production investments1,
of which €92,400 were used for
short films (6 films)
advance on receipts
directors and producers
to produce films selected on the basis
of the script, or after production
is completed
52 pre-production agreements
for a total of €21.62 million and
24 post-production agreements
for a total of €2.50 million.
support for foreign language films
to support the production of films
made in foreign languages by French
or foreign directors of certain renown
10 agreements for a total of €0.82
million in 2012.
This initiative ended January 1, 2012
and has been replaced by a new
initiative called the Support Scheme
for World Cinema. Assistance
provided prior to this date was
assessed for 2012.
support for international
co-productions
support for international
co-productions
_ Franco-German support: 11 projects
assisted for €1.49 million
_ Franco-Canadian support: 1 project
assisted for €180,000
support for shooting in the
DOM – Saint Pierre and Miquelon
producers of short and feature films
to promote the production of short
or feature films showing cultural
interest for the DOM
5 projects assisted for €300,000
World Cinema Support
(established in 2012)
producers
co-production assistance for works
representative of world cinema
B
BENEFICIARIES
scriptwriting support
Support for film production
1
Repayments are deducted and exclude support premiums invested.
C
Selective backing for distribution
The CNC supports independent companies whose work
contributes to the diversity of films shown in movie
theaters.
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
automatic support for film distributors
distributors of films in theaters
Fund a guaranteed minimum
to be refunded based on film revenue
in theaters and/or bear part
of publishing expenses
40 distribution companies raised
€18.15 million for 124 films
support for new releases
(1st board)
new film distributors in theaters
four procedures:
_ support on a film by film basis
_ support for first films – advance
on receipts
_ support for distribution companies
(subsidies for structure and for
program)
_ support for under-screened films
to encourage cultural diversity
by distributing new French and foreign
films in movie theaters
€7.73 million for 258 films and
18 production structures supported
support for old films
(2nd board)
heritage film distributors in theaters
two procedures:
_ support for old films and
retrospectives
_ support for old film companies
(production structure and
programming support)
to promote showing old Art House
films in theaters throughout
the country
€855,750 for 58 films, 7 retrospectives
and 10 production structures
supported
support for films for young audiences
(3rd board)
distributors of films in theaters aimed
at young audiences (new films and
reruns)
to renew and diversify what is offered
to young audiences in theaters
by financing teaching aids
and accompanying documentation
€201,500 for 18 films
C
Support for film distribution
15
Public Funding
D
Special support for short films
Apart from the four means to obtain financial support
described here, short films may also qualify for other
support described in this chapter, notably for automatic
and selective television support for films financed
by TV stations, and support for new production technologies
and from the Images de diversité fund, automatic
support for film producers and support for shooting
in the DOM – Saint Pierre and Miquelon.
With all these options taken together, the total support
for the production of short films amounted to €11.84 million
in 2012. There were 639 total films produced (number
of short films having obtained an exhibition license)
in 2012.
SUPPORT
BENEFICIARIES
Film heritage and French film archives
The CNC is responsible for all heritage initiatives
in the area of French cinema, with its tasks of collection,
conservation, restoration and promotion. The CNC works
in close collaboration with various private institutions
devoted to preserving and disseminating film heritage,
such as the Cinémathèque française and the Cinémathèque
de Toulouse.
The CNC gives special importance to its film heritage
policy, particularly with the conservation and promotion
of over 115,000 films preserved at its Bois d’Arcy
and Saint-Cyr-l’École (78) sites.
OBJECTIVES
2012 RESULTS
“financial contribution” to short film
production
directors (pre-production support)
to encourage the emergence
of new scriptwriters and new forms
of artistic creation
48 films for €3.27 million
“financial contribution”
to the rewriting of short films
directors
to encourage the rewriting of scripts
23 projects for €46,000
support for the short film company
program
producers (pre-production support)
to guide the development
of companies regularly producing
short films
34 companies and 46 films
for €3.48 million
short film “quality award”
producers (post-production support)
to honor films not having received
support as projects, and to reward
the producer’s risk-taking
35 films for €400,000
additional support for original music
production companies
(pre-production assistance)
to promote the creation
of original music
€45,000 for 15 projets
D
Specific support for short films
In 2012, the budget for maintaining and restoring heritage
films was €1.51 million. Thus, 74 films were saved
or restored. In addition, 1,357 films were digitized so people
could view them in the CNC collections at the Bibliothèque
Nationale de France (BnF) and in the CNC premises
at Bois d’Arcy. These collections gained 4,029 elements
in 2012, including 421 films that have been registered
as legal depository. For 47 foreign films and 33 French films,
the legal deposit occurred solely on a low-definition
digital file. This medium enables scientific consultation,
but not the long-term conservation of the work,
which is one of the main objectives of the legal deposit.
The viewing spaces received 401 researchers
for occasional or more long-term investigations.
Numerous loans for external screenings also contributed
to the promotion of the CNC collections: 730 films were
thus loaned in 2012 for various events in France, Europe
and in the world, as well as for the production of mixed
works and video publishing. The CNC French Film Archive
organized a retrospective entitled Le Cinéma Fantastique
Français (Fantastic French Cinema) which drew
4,169 visitors over 65 showings at the Cinémathèque
Française.
The documentary database established by the CNC
and shared with three other film heritage institutions
(the Cinémathèque Française, the Cinémathèque
de Toulouse and the Cinémathèque de Grenoble) was
enriched with the descriptions of 1,868 new films
and the documentation of 805 works in 2012.
The two national inventory systems assigned to Eclair
Group by the CNC enabled the inclusion of 10,363 reels
in the film element referencing database. These reels
were measured, chemically tested, reconditioned
if necessary and their documented descriptions were
verified. A third system was assigned to LTC Patrimoine.
2012 provided the CNC with the opportunity to initiate
a plan of film heritage digitalization and restoration, in order
to support the holders of the catalog in the promotion
of the works across new digital distribution networks.
This plan received the approval of the European
Commission in Spring 2012, with the beginning of the
system in July enabling three meetings of a group
of experts and the treatment of 60 works for a total sum
of €3.32 million. Namely, Shoah, The Golden Coach
and the catalogs of Eric Rohmer and Jacques Demy were
digitalized in 2012 thanks to this support. Certain films,
such as René Vautier’s To Be Twenty in the Aures
and Jean Renoir’s The Golden Coach, were scheduled
in festivals and also came out in theaters.
support for exhibition
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
automatic support
for movie theater operators
movie theater operators
to finance modernization
and equipment works, as well
as the construction of new movie
theaters
€67.00 million raised, of which
€47 million in advance receipts;
731 files concerning the recording
of €61.00 million of new works
support for the construction
and modernization of movie theaters
to encourage the opening of new
venues in underserved parts
of the country
(192 screens)
support for art-house cinemas
to encourage diversity in the range of
films offered
€13.72 million for 1,106 arthouse
cinemas listed
support for movie theaters favoring
the screening of ‘challenging’ films
in the face of competition
to encourage movie theaters favoring
the screening of ‘challenging’ films
and conducting animations in a
competitive context
€1.76 million for 32 movie theaters
in Paris and 6 movie theaters outside
of Paris
aid to cinema theater digitization
Cinema theater operators
(mostly 1 to 3 screens) likely not
to receive enough contributions
by distributors to fund at least 75%
of their investments
fund digital transition of cinema
theaters
€29.34 million for 481 cinemas
(628 screens)
aid to cinema theater digitization
Cinema theater operators (mostly 1 to
3 screens) likely not to receive enough
contributions by distributors to fund
at least 75% of their investments
to encourage greater access to films
for movie theaters
€1.80 million for 1,616 prints releases
of 131 films (excluding heritage films)
associations financed by the CNC (distribution of films in movie theaters and cultural broadcasting): Association française des cinémas d’Art et Essai (AFCAE),
Groupement national des cinémas de recherche (GNCR), the regional art-house movie theater operators associations - recherche, Agence de développement
régional du cinéma (ADRC), Agence du cinéma indépendant pour sa diffusion (ACID), Agence du court métrage, Documentaire sur Grand Ecran, Association
française pour le cinéma d’animation (AFCA), Images en bibliothèques, la Confédération des Ciné-clubs (COFECIC) and the five accredited cine-clubs,
Light Cone, Cinedoc, collectif jeune cinéma et Pointligne Plan (screening of experimental films), Ligue de l’enseignement (Fédération d’éducation populaire),
Carrefour des festivals, Lutins du court métrage, etc.
support for export
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
support for prospecting abroad
exporters of approved films filmed
in French
to support the strategy of prospecting
for a film or a catalog
€1.26 million for 135 films
and 24 catalogs
support for subtitling and dubbing
producers and exporters of approved
films
to encourage international sales
of a film
€222,673 for 88 films
Jointly with the Ministry of Foreign Affairs the CNC finances Unifrance films International, an association whose mission is to develop French film exports
and promote French film making abroad. The CNC also backs the Association des exportateurs de films (ADEF), which currently includes 22 of the most active
companies and represents exporters of French feature films.
Support for film exhibition and export
15
Public Funding
E
TELEVISION SUPPORT
CNC initiatives in support of the television industry focus
on three main areas: support for creation, production
and the broadcasting of French television programs,
notably in other countries.
Television broadcasting production tax credit
The film production tax credit exempts a production
company, under certain conditions, from paying tax
on 20% of certain (“eligible”) production expenses,
up to €1,150 per minute for a fiction work or documentary
and €1,200 per minute for an animation (this is not
applicable to live shows and news magazines).
The tax credit is subject to the issue of a provisional
certificate, and then a final certificate of approval.
The final certificate, however, can only be issued if the
work has already led to a production approval certificate
for CNC financial support, certifying its definitive granting.
In 2012, 331 broadcast works (37 animation works,
153 documentaries, and 141 fiction films) obtained
temporary approval for the tax credit. Total eligible
expenses for the tax credit for these works were estimated
at €367.9 million. After taking the limits into account,
the total cost of the television broadcasting tax credit
in favor of these 331 works (fiscal expenditure) would
be €54.2 million.
The 2013 Finance Act modified the tax credit system
in favor of audiovisual production by moving the ceiling
per minute produced up to €1,250 for fiction works
(€5,000 for certain international fiction works) and up
to €1,300 for animated works. Furthermore, spending on
storage, transport, lodging and food will now be included
among eligible expenditures. These new measures,
once authorized by the European Commission, will go into
effect upon the publication of the implementing decree.
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
automatic support for productions
producers having already produced
and broadcast television programs
on French TV stations
to finance the preparation
or production of new television works
€141.57 million of which
€47.73 million for fiction films,
€60.62 million for documentaries,
€14.04 million for animation
and €19.19 million for live shows
advances on rights to automatic
support for production
producers having exhausted
their automatic support
to finance the preparation
or production of new television works
€7.32 million for animation
and €6.10 million for live shows
selective support for the production
of television programs
_ producers not having an automatic
account
_ works for which the broadcaster’s
contribution is too low
_ short documentary works
_ magazines with content of cultural
interest
to finance the production
of television works
€9.65 million for animations,
€0.97 million for live shows
and €4.68 million for the magazine
support for Franco-Canadian
co-productions
television programs produced
as a co-production and qualifying
for the bilateral agreement
to encourage the co-production
of television works between France
and Canada
7 development projects:
6 documentary projects
and 1 animation project
support for music videos (quality
bonus)
producers of vidéo-clips
to support the production of
high-quality video-clips
€336,000 for 28 prize-winning
video-clips out of 57 projects
examined and €172,426
for 19 reinvestment projects
“Web Cosip”
(instituted in 2011)
producers with an automatic
television fund
to back development and produce
television works on the Internet
€2.19 million for 41 programs:
11 documentaries, 6 fictions,
21 live shows and 3 animation
programs
E
Support for television production
1
Including additional subsidies and Web Cosip support.
SUPPORT
support fund for innovative television
broadcasting
BENEFICIARIES
for fiction, documentary
and animated programs:
_ support for scriptwriting
for scriptwriters
_ development support
for production companies
OBJECTIVES
2012 RESULTS
to encourage the search for new
scriptwriters and new talent
for the creation of innovative
television broadcasting
scriptwriting support:
_ 52 fiction projects (for a total of
€1.410,000)
_ 10 animation projects for €112,000.
_ 52 documentary projects
for €390,000.
support for development:
_ 2 fiction projects for €60,000
_ 13 animation projects for €336,500
_ 44 documentary projects
for €675,000
support for preparation and
development
producers of fiction films, animation,
and documentary works, creation
and recreation of live shows
to promote pre-production writing
and development
animation pilot support
animation producers
to encourage the creation of pilots for
difficult projects and new conceptions
with the intent of identifying
prospective partners, particularly
foreign ones
€211,000 for 14 animation pilots
fiction pilot support
fiction producers
to encourage the creation of pilots
with a view to canvassing prospective
distributors
€1.13 million for 50 fiction pilots
associations financed by the CNC (establishment, promotion and support of authors; professional training):
Conservatoire Européen d’Écriture Audiovisuelle (training of scriptwriters), Eurodoc (training in European production of documentaries)
E
Support for the creation of television programs
SUPPORT
support for the promotion of television
programs
BENEFICIARIES
producers and distributors wishing
to market their programs abroad
OBJECTIVES
to finance effective marketing tools
2012 RESULTS
€1.42 million for 694 programs
The CNC, as part of Regards sur le cinéma, acquires the rights to documentaries, which deal with film, television and multimedia intended for non-commercial
television broadcasting on the French cultural network. This selection supplies the Images de la Culture catalog, which consists of 2,700 documentary titles, made
available mostly in DVD format, to multimedia libraries, art schools, architecture schools and choreographic centers, as well as prisons. In 2012, 6,488 DVDs were
sold to raise funds for free public screenings. The budget for acquiring the Images de la culture catalog was €250,000.
The CNC finances TV France International, an association whose mission is to develop French film exports and promote French filmmaking abroad.
E
Support for television broadcasting
TRANSVERSAL SUPPORT
Images of diversity
Established in 2007 and governed by decree nº 2012-582
of April 25, 2012, the Images de la diversité fund is jointly
managed by the CNC and the Agence nationale pour
la cohésion sociale et l’égalité des chances (ACSé).
In line with the proposals of these two organizations, the
Images de la diversité commission will allocate additional
funds for film, television and multimedia broadcasting,
contributing to better representation of French cultural
diversity and to the promotion of the equal opportunities
policy.
Projects likely to secure funding from this fund must
already have received selective support from the CNC,
who thus allocates additional support. This additional
support, different from ACSé’s support, is intended
to assist all stages of creation and exhibition of the
works chosen, and can thus correspond to support for
preparation (scriptwriting, development), for production
or for distribution and broadcasting (distribution,
video publishing). Additional support can amount
to €50,000 per project, within the limit of the amount
of the initial selective support(s) granted. Exceptionally,
only one Images de la diversité commission was possible
in 2012, as its establishing decree was amended.
48 projects were granted support, for a total of €880,000.
The international tax credit
The Tax Rebate for International Productions (TRIP) aims
to encourage shooting and production of film and television
works, fiction or animated, in France, when production
was initiated by a foreign company.
Eligible works are approved by the CNC on the basis
of a rating scale validating the work’s relation to culture,
heritage and the French territory. Tax credit is granted
to the company that executively produces the work
in France. It represents 20% of principle production
expenses of the work incurred in France and can total
up to €4.0 million.
15
Public Funding
In 2012, 17 projects received provisional approval:
ten feature-length fiction films (including The Smurfs 2
by McG), four fiction television series (including season 2
of Death in Paradise), one feature-length animated film
(Pierre Coffin’s Les Mins) and two animated television
series (including Pacman). Six of these projects are from
the United States, one from Canada, and ten from Europe.
The projected total investment for these 17 projects
in France is €95.00 million for 1,500 days of filming and
37 months of animation production.
F
Support for digital creation and for video games
Selective support for new media supports the creation
of television works specific to interactive or multi-platform
media.
In the video game sector, intellectual property creation
support promotes new creations and encourages
companies to create legacy value around video games
they produce by having them maintain intellectual
property rights. Additionally, pre-production assistance
supports the creation of prototypes in the initial stages
of production.
In December 2012, Parliament voted for the inclusion
of lodging expenses in the assessment of eligible
expenditures, as well as the increase of the tax credit
ceiling to €10.00 million. These new measures,
once authorized by the European Commission, will go into
effect upon the publication of the implementing decree.
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
support fund for video games
(CNC/Ministry of the Economy,
Finance and Industry)
development studios
to support creation, innovation,
research and development in the video
game industry
€2.80 million for 50 projects,
of which €0.41 for 4 pre-production
projects, €2.30 million for 41 grants
to the creation of intellectual
property projects, €0.07 million
for 5 events related to video games
support for new media
writers or producers
to encourage the development
of projects designed for several
television broadcasting platforms,
the creation of content for the internet
and mobile screens, and stimulate
the renewal and diversification
of creative methods
(29 received support for writing and
multimedia development, 39 received
support for writing and development
for the Internet and mobile phones,
27 received support for Internet
production
support for artistic multimedia
creation (DICREAM)
creators and production structures
developing experimental works
for innovative scripts using digital
technologies
_ to assist project development
_ to assist in the achievement
of artistic projects
_ to support events devoted to digital
creation
(33 received development support,
56 received production support
and 15 received event support)
F
Support for the creation of new media and video games
Tax credit for expenses incurred
from video game creation
The tax credit for expenses incurred from video game
creation allows creative companies, which are active
in this sector and located in France, to deduct 20%
of eligible expenses from their taxes. These expenses
concern the production of video games that contribute
to the diversity of French and European creation.
In 2012, 3 video game production files received temporary
approval for the tax credit for creative expenses,
for a total estimate amount of eligible expenses
of €9.90 million and for a total estimate amount
of tax credit of €2.00 million.
The fight against piracy
Set up in 1985, the Association de lutte contre
la piraterie audiovisuelle (ALPA, French broadcasting
piracy protection association) is an association which
brings together various players in the film and television
industry concerned by piracy. Partly financed by the
CNC, its purpose is to fight all forms of piracy, whether
in physical format or on the Internet. Copyright
infringement is enforced by sworn agents. By Decision
No. 2006-294 of December 21, 2006, ALPA was
authorized by the CNIL (French Data Protection
Authority) to implement personal data processing for
the purpose of searching for acts that may constitute
such infringements. ALPA participates in the fight
against illegal downloading by alerting the High
Authority for copyright protection and dissemination
of works on the Internet (HADOPI) of any offenses
that it may note (The “Creation and Internet” Law
No. 2009-669 of June 12, 2009, promoting the distribution
and protection of creative works on the Internet).
G
H
Support for video publishing
Since 1994, the CNC has developed support for video
publishing, which can now provide support for DVD and
Blu-ray publishing. In 2011, selective support for video
publishing to promote subtitling for the hearing impaired
was also added and in 2012, so was audio description
support.
At the same time, selective support for VoD was set up
in 2008. It supports holders of VoD rights and VoD service
publishers. Now, a VoD rights holder can request unitary
support to publish a title in VoD, regardless of whether
or not it is also published on DVD or Blu-ray.
Support for new media and technical industries
Support for new technologies in production (NTP)
accompanies the risk that producers take when using
innovative technologies (digital special effects, computer
generated images, updating special processes).
The support is available to all film and television projects,
regardless of their genre (fiction, animation, documentary,
rearrangement of a live show), their dimension (3D or not)
and, since the end of 2012 with the opening to feature-length
non-3D projects, their format (short film, feature-length
film, unitary, series, pilot).
Financial support for technical industries goes along
with the investment process of technical providers
of film and television creation.
RIAM (Research and Innovation in Television and
Multimedia), a partnership between the CNC and Oséo
innovation, supports research and development
of television and multimedia SMBs.
The CNC also supports multiple initiatives, events and
associations ensuring the promotion of French technical
industries.
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
automatic support for video
publishing
video publishers marketing approved
French feature films released l
ess than six years ago or short film
programs
to finance the purchase of video
exhibition rights for recent French
films
€0.49 million raised for 16 films
selective support for video publishing
publishers of videos
to encourage publishing work taking
place around works (of film, television
or direct-to-video) of particular
cultural interest given the economic
conditions of their distribution
€4.21 million for 362 unitary projects
and 31 editorial programs (for a total
of 393 publishing projects (822 works).
selective support for Video on Demand
(VoD)
holders of the VoD rights catalogue
and VoD service publishers
to encourage use of the catalogs,
the diversity of the offer and showing
French and European works on VoD.
€0.70 million for 19 projects,
of which 5 received support for
holders of a VoD rights catalogue and
14 received VoD service publishers
support.
110 projects (unitary and publishing
programs) also received unitary
VoD support
G
Support for video publishing
SUPPORT
BENEFICIARIES
OBJECTIVES
2012 RESULTS
support for new production
technologies (NPT/3D)
producers of film and television works
using innovative techniques, especially
3D production
to back producers who take risks
€5.66 million for 61 projects of which
€2.80 for 3D production projects
financial support for technical
industries
technical film and television industries
to accompany the changes throughout
the sector brought about by the
widespread use of digital technology,
to offer support in terms of equipment,
modernization, and company
restructuring
support for research and innovation in
television and multimedia (RIAM)
SMB carrying out research
and development in television
and multimedia
to encourage research
and development activities
within companies
€1.51 million in CNC grants
(in addition to a reimbursable advance
from OSEO) for 33 projects
The CNC finances the CST (Commission supérieure et technique de l’image et du son), an association whose mission is to promote technical progress likely to improve
the quality of audiovisual expression, from creation to broadcast and, in particular, to ensure the works are respected and the quality of their restoration.
H
Support for new media and technical industries
15
Public Funding
AGREEMENTS WITH LOCAL AUTHORITIES
The CNC’s local initiatives policy
Since 1989, the CNC’s local initiatives policy has been
implemented via the signing of agreements with local
authorities. It aims at making the film and television sector
a vector for local cultural and economic development,
through close co-operation between local and central
government. It covers the areas of support of creation,
production and hosting film-making, initiatives for image
education, cultural dissemination as well as film exhibition.
The multi-year agreements on film and television
development concluded with the regions and the DRAC
(directions régionales des affaires culturelles) is an
instrument of dialogue, negotiation, and implementation
of joint initiatives, concerning three elements:
consistency of initiatives led, transparency of initiatives,
traceability of furnished funding. They provide annual
financial amendments specifying the commitments
made by each party. Sub-regional authorities (departments,
communities of communes) can, if necessary, become
a partner to these agreements, if, in accordance with
the General Code of the local authorities, the region
coordinates the economic development initiatives
of all authorities in the area.
The agreements include three major sections:
_ the first is devoted to scriptwriting, development, film
and television production, as well as hosting filmmaking.
It is backed by the local authority concerned (support
is granted selectively, after special commission opinions
have been provided) and by an additional amount
from the CNC of funds provided by the support fund;
_ the second concerns cultural screenings and artistic
education, with initiatives such as Lycéens au cinéma
and Passeurs d’Images and support for regional artistic
education centers. It is financed by the local authority,
as well as DRAC (Directions régionales des affaires
culturelles) funding and, for some 30 national or international
interest festivals, by CNC funds from the support fund;
_ the third is devoted to film exhibition and aims to allow
the authorities, the DRAC, and the CNC to specify their
level of involvement and support for theaters and to engage
in greater cooperation and systematic information
exchanges, particularly with regard to the support for
digitization of movie theaters.
As part of the agreements, CNC direct intervention
methods are the following:
_ with the regions, the CNC defines funds for each
category: support for scriptwriting and development,
support for short films, support for feature films,
and support for television;
_ the CNC allocates a fixed amount for scriptwriting
and development support set up by the authorities;
for feature film and television production, the ‘€1 from
the CNC for every €2 from the region’ program was
implemented, subject to the film’s being accredited
by the CNC or to the work’s eligibility to receive assistance
from the television support fund; the ‘€1 for €2’ has also
applied to short film productions.
_ the CNC limits financial participation to €2.0 million
per year and per agreement;
_ regional offices responsible for hosting shootings
(also known as regional film commissions) also receive
support throughout the first three years of operation.
The third generation of three-year agreements between
the State, the CNC and the regions covers the period
from 2011 to 2013. In 2012, the amount of money committed
in the 26 concluded agreements was €112.80 million
(or 3.5% more than in 2011), distributed as follows:
_ €3.34 million for scriptwriting and development
(€3.23 million from local authorities and €0.11 million
from the CNC);
_ €0.53 million in aid for new media (€0.44 million
from the authorities and €0.09 million from the CNC);
_ €6.83 million for the production of short films
from the CNC);
_ €26.94 million for the production of feature films
from the CNC);
_ €21.70 million for television production (€14.83 million
from the regions and €6.87 million from the CNC);
_ €3.85 million for hosting shoots (€3.84 million from
the regions and €0.01 million from the CNC);
_ €36.81 million for art education and cultural dissemination
(€24.83 million from the regions, €7.80 million from
the DRACs and €4.18 million from the CNC).
_ €12.80 million for help from local authorities to movie
theaters (mainly to digitize projection equipment).
Commitments from the authorities for exhibitions were
financed for the first time in 2011.
In all, in 2012 the CNC committed a total of €19.55 million
in funding (including €15.36 million in support funds
for creation and production and €4.18 million for festivals).
The local authorities committed a total of €85.45 million,
and DRAC committed €7.80 million. In eight years
(from 2004 to 2012), the State agreements (CNC+DRAC),
went from €10.10 million to €27.35 million, or an increase
of 170%. During the same period, local authority
agreements went from €35.50 million to €85.45 million,
or an increase of +140%. For all joint parties, there was
an increase of 147% between 2004 (€45.60 million)
and 2012 (€112.80 million).
At the end of 2012, the agreements covered 40 local
authorities: 26 regions, 12 departments (Alpes-Maritimes,
Charente, Charente-Maritime, Côtes-d’Armor, Deux-Sèvres,
Dordogne, Finistère, Haute-Savoie, Landes,
Pyrénées-Atlantiques, Seine-Saint-Denis, Vienne),
the Urban Community of Strasbourg and the City of Paris.
Initiatives taken by DRACs (regional directorates
for cultural affairs)
In order to bring state participation closer to the point
of implementation in the regions, the Ministry of Culture
and Communication and the CNC have, over the past
decade, embarked on a wide-ranging decentralization
initiative. This has been achieved by transferring
responsibility and fund management to the Regional
Directorates for Cultural Affairs, and by setting up
a network of film and television advisors within them.
In 2012, DRAC funding to film, television and multimedia
amounted to €8.70 million, of which €7.80 million
were implemented within the context of tripartite
CNC – State – Region agreements. They are divided
as follows:
_ €3.50 million for youth initiatives (art education with
the school initiatives École, Collège et Lycéens au cinéma;
film classes in high schools; other educational initiatives);
_ €0.80 million for regional film education centers
(in 14 regions);
_ €1.20 million for the Passeurs d’Images initiative;
_ €2.40 million for cultural dissemination support
(regional or local festivals, art house cinema distribution
associations, etc.);
_ €0.80 million for other initiatives led in partnership
with local authorities.
Bodies associated with regional policy for Film
and broadcasting development
In certain cases, all or part of the training and financial
management of regional support for creation and
production is delegated by the local authority to an outside
organization, whether it is a EPCC (établissement public
de coopération culturelle), such as the Centre Images,
now called CICLIC or the Cité de l’Image en Mouvement
d’Annecy (CITIA), or an association such as the Centre
Régional de Ressources Audiovisuelles du Nord-Pas
de Calais (CRRAV, recently renamed Pictanovo following
the merge with the Pôle Image Régional), the Pôle Image
Haute-Normandie, the Maison de l’Image Basse-Normandie,
the Agence Culturelle d’Alsace (ACA) or the Office
Régional Culturel de Champagne-Ardenne (ORCCA).
In addition, the Commission nationale du film France
and the 39 regional and local film commissions provide
free support along with film and television professionals
for different types of services: information on the shooting
and location search sites; searching for technicians,
actors and extras (casting services at most reception
desks may be possible); administrative steps, assistance
for shooting authorizations; logistics and various
information (car rental, accommodations, etc.); providing
production and documentation offices; contact with
the press and local authorities.
EDUCATIONAL INITIATIVES FOR FILM AND TELEVISION
After having resumed support of around thirty festivals
of both national and international interest for a total
of €1.50 million in 2008, the CNC continued the financing
of regional cinemas and film archives (Institut Lumière,
Cinémathèque de Toulouse, Breta

results 2012

Transcription

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