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THE IMPORTANCE OF REGIONAL PUBLIC FUNDING IN EUROPE

By Teresa Hoefert de Turégano, Analyst, European Audiovisual Observatory
(re-print of article in Cine-Regio newsletter no. 6, May 2005)


Regional public funding has acquired increasing importance in the overall financing of film and audiovisual works in Europe. According to the European audiovisual Observatory, regional funding represented almost 20% of the total public funding available in Europe.  

In essence, more funding for film and audiovisual production is channelled through the various regional levels, rather than supranational levels. “Regional public funding” is used here in a broad sense, i.e. all types of public funding provided by sub-national public entities. This includes the funds provided by the regions stricto sensu but also funds provided by territorial communities or local entities (departments or municipalities).

The importance of sub-national funding corresponds to some extent to the larger political configuration of a country. Germany is by far the country which provides the highest level of regional funding: the majority of financing comes from the funds set-up the by Länder within the German political system.  

In contacts, the more centralised government structure in France is mirrored by the role of the Centre National de la Cinématographie, although somewhat paradoxically there is an extensive network of regional film funding bodies in France as well as an increasing tendency of devolution towards the regions (for example, the recently established 1 euro for 2 euro program set up by the CNC). In Spain as well, most of the funding comes from the national level although the various regions and communidades autónomas are progressively more involved in providing funding. In Italy the system is also quite centralised and regional funds are just beginning to appear. In the United Kingdom the landscape of funding possibilities is more dispersed, reflecting the internal UK policies vis-á-vis its Nations (Scotland, Wales and Northern Ireland) and regions.

The KORDA database set-up by the Observatory currently provides details on approximately 180 funding bodies within 31 European countries. In quantitative terms there are already 118 funding bodies profiled in KORDA that function at sub-national levels. 

Most of the support from regional public funds is awarded for development and production, with distribution and exhibition each receiving less than one percent of the total regional funding existing in Europe.

It is important to note however, that in some countries the actual origin of the revenues of the sub-national funding bodies comes from multiple sources and not only from the public entities which have created them. In Germany, for example, broadcasters contribute to some of the regional funds. In France and in the UK regional funds receive contributions form their national agencies. The Observatory publication: Public funding for film and audiovisual works in Europe – A comparative approach (2004) provides more details on the subject.