natgillin/translations-raw huggingface dataset:
De fleste europæiske lande køber desuden mere i De Forenede Stater end i alle andre EF-lande tilsammen.
The European film industry has no interest in a proliferation of support measures with questionable financial capacities.
Under vedvarende pres fra Europa-Parlamentet har Kommissionen i de seneste år udviklet en audiovisuel politik.
VAN HEMELDONCK (S). — (NL) Mr President, ladies and gentlemen, the audiovisual media have become the culture form of the 20th century and, in fact, the form of communication as well.
Jeg tænker på Grønbogen » Fjernsyn Uden Grænser « og direktivet om satellitnormer, som er to emner, om hvilke jeg tidligere har fået lov at udarbejde betænkninger for Parlamentet, samt MEDIA-programmet.
We may per haps regret, for example, that the printed press has waned in importance compared with the visual press, but there will be a reason for it all and it is typical of what is going on in civilization as we know it.
MEDIA-programmet forløber succesrigt.
It is not government subsidies that make good films.
I den betænkning, som vi drøfter i dag, fremsætter jeg tyve forslag til supplering af MEDIA-programmet.
This would double VAT in Belgium, France, Ger many, Greece and Spain and increase it by as much as 14% in Portugal.
Også her vil jeg udtale mig helt klart med hensyn til, hvad Fællesskabet skal gøre, og hvad det ikke skal gøre. EF- lovgivning er ikke ønskelig med hensyn til den rækkefølge, hvori film skal vises i biografen, på video og fjernsyn.
Now for legislation. Here again, I want to make it clear what the Community should do and what it should not do.
I Det Forenede Kongerige findes et selvregulerende system, som fungerer godt.
In the United Kingdom there is a system of self-regulation that
Det tillader f.eks.. at hvis en film ikke er nogen biograf succes, kan den vises hurtigere i fjernsynet end normalt.
It is also important to encourage and stimulate the production of audiovisual programmes.
Denne fleksibilitet er vigtig.
In this respect,
For stramme regler hindrer, at film finansieres af radio- og fjern synsselskaber.
President François Mitterrand has spoken of the need to create a kind a audiovisual Eureka for Europe.
For Fællesskabet er der en vigtig opgave på konkurrenceområdet.
We fully endorse this idea, principally because we consider it important for the identity of European culture and our traditional values to be preserved.
Jeg har allerede siden 1985 opfordret til klare regler om koncentrationen i medierne.
This should be achieved through private- and public-law initiatives.
Regler til beskyttelse af den kulturelle mangfoldighed, af muligheden for. at nye konkurrenter kan komme ind på markedet, for distributionen af programmer i hele Europa.
So we find it difficult to understand why the Commission opposes the Flemish cable decree, which was intended as a means of pursuing these objectives of maintaining and supporting European production.
Mit konkrete spørgsmål til Kommissionen lyder: Hvor når kan vi nu endelig forvente en rapport fra Kommissionen om dette anliggende?
I regret that Mr de Vries's report makes no mention of the integration of the policy on television into other Community policies, in the context of the education and training of workers, for example.
Filmfinansiering er et meget risikofyldt anliggende.
Secondly, is the Commission keeping an eye on the present wave of multimedia mergers — I am thinking of Murdoch, Maxwell and so on — in terms of the rules on competition?
Gennemsnitligt giver kun én ud af ti film overskud, to dækker udgifterne, og de andre syv giver tab.
I feel there is all the more need for a decision on mergers, with respect to the possibility of gaining access to the market, for instance.
Efter betaling af moms og andre udgifter modtager producenten ofte ikke mere end 10% af indtægterne fra billetsalget.
How does the Commission view this from an economic standpoint?
Alligevel foreslår jeg ikke, at der oprettes nye europæiske fonde.
What benefits does it see in this?
Der er allerede nok europæiske fonde og småfonde.
There is also the point that Mr de Vries made.
Den europæiske film har ingen interesse i et vildnis af støtteordninger med tvivlsomme finansielle kapaciteter.
Does the Commission not feel that this trend may also be a threat to cultural diversity, causing tension between economic and cultural interests?
Men hvad der er behov for, er en analyse af effektiviteten af de eksisterende nationale og europæiske støtteordninger.
Finally, one of the main problems for the European film industry is distribution. In 1988 a bureau was set up with the specific object of promoting the distribution of films.
Effektiviteten deraf burde undersøges, og det gælder også for skattemæssige stimuleringsforanstaltninger som det franske Sofica.
BEUMER (PPE). — (NL) Mr President, I should like to make a few comments on behalf of my group.
Så er der for det tredje forbindelserne med tredje lande.
The audiovisual sector is growing in importance in both cultural and economic terms and is one of the most important growth sectors, as Mr de Vries rightly points out in his report, which we endorse.
Vi har efter min mening ikke behov for beskyttelse mod import af udenlandske film f.eks. fra De Forenede Stater.
It contains some very clear figures. There is, for example, the fact that half of this 26 billion market is dominated by the Americans.
Jeg er ikke tilhænger af kvoter på det europæiske fjernsyn.
On this occasion I will con fine myself to the latter aspect.
Ingen nye hindringer, kun nedrivning af hindringer er nødvendig, navnlig af hindringer, som den europæiske filmindustri ikke blot støder på i Europa, men også på andre landes markeder.
The only part about which my group has reservations about is paragraph 9 of the motion for a resolution which calls on the Commission to 'investigate the possible need for rules on programme chronology'.
De Forenede Stater har stadig en række diskriminerende bestemmelser med hensyn til udenlandske film.
We are against this because it does not recognize the way in which the film industry has now evolved.
Vil Kommissionen konkret angive, hvordan den agter at bringe den slags hindringer til ophør, og vil Kommissionen navnlig i den kommende tid rette opmærksomheden mod GATT og mod betydningen af en audiovisuel ord ning inden for GATT, som skal sikre, at billeder ligesom varer og tjenesteydelser kan bevæge sig frit over grænserne.
Those of your friends, Mr President, who are film critics for well-known national newspapers will certainly have told you that these days most films shown at international film festivals like the Cannes Film Festival and others will actually finish up on television. Any restriction on the time before which they can not be shown on television actually hinders the film industry.
Min konkrete anmodning til Kommissionen er: Vil Kommissionen udarbejde et notat om filmfinansiering og forelægge dette for Parlamentet, Rådet og medlemsstaterne.
I know that there are siren voices in some Community countries proclaiming the importance of the cinema. However, remember, Mr President, that the cinema is simply a place where people go to watch films.
Jeg vil gerne advare om en ting.
The cinema and films are separate.
Fordelen ved subsidier fra offentligheden må ikke overvurderes.
So we shall be voting against paragraph 9, but that does not in any way detract from the wholehearted admiration of my group for the rapporteur and his work in this context.
Det er ikke subsidier fra offentligheden, som laver gode film.
The image that Europe presents in this sector is not entirely favourable.
Gode filmproducenter gør det.
The production of programmes, for example, cannot keep pace with the increase in transmission time.
Mennesker med mod, med nye idéer, med udholdenhed.
Nor, sadly, is the decline of the film industry being sufficiently cushioned by television productions.
Myndighederne kan godt gøre deres arbejde lettere.
Nor, in fact, are scale advantages being sufficiently exploited, although this has something to do with language, of course.
Desværre gør Kommissionens moms forslag netop ikke dette.
I should like to ask the Commission what progress is being made with stimulation in this respect.
Van Hemeldonck (S). — (NL) Hr. formand, kære kolleger, det audiovisuelle medium er blevet det tyvende århundredes vigtigste kulturform og egentlig også den vigtigste kommunikationsform.
BAUDOUIN (RDE). — (FR) Mr President, ladies and gentlemen first of all, Mr de Vries' report is excellent because it goes over all the problems currently facing Europe's film and television industry.
Van Hemeldonck lemsstaterne og for Fællesskabet klare opgaver både ud fra en kulturel synsvinkel, og derfor tror vi, at den kulturelle dimension vil blive nødvendig, og ud fra en økonomisk synsvinkel.
Baudouin know that we will not find a solution for all the problems — and they are real problems.
Inden for disse ram mer vil jeg først og fremmest begrænse mig til sidstnævnte.
At the moment, I think, we have to list things and establish one or two priorities.
sionsformanden, hr. Delors, understregede i sin erklæring i anledning af præsentationen af den nye Kommission den 17. januar 1989 for Parlamentet.
I agree with the rapporteur that one of the priorities in the coming years should be, first of all, the problem of multilingualism.
Den Socialistiske Gruppe støtter dette fuldstændigt.
But the top priority is to stop the Europeans depend ing on the Americans.
Vi mener, at vi i Europa må organisere vore egne audiovisuelle muligheder, idet vi tager hensyn til principperne om frihed for presse og kreativitet, men at vi ikke må lade disse friheder begrænse af kom mercialisering.
When you think that more than an average of upwards of 50% of the films distributed in the Community and in fact upwards of 70% of the fiction films are of American origin — we can't have that.
Det billede, som Europa viser inden for denne sektor, er ikke udelukkende gunstigt.
European Community, and yet it is important for culture to be given a chance.
Stordriftsfordelene udnyttes egentlig også i utilstrækkelig grad, i hvilken forbindelse sproget natur ligvis også spiller en rolle.
Film and television are extremely important for the preservation of cultural diversity and cultural identity.
Jeg vil gerne spørge Kommissionen, hvorvidt der gøres fremskridt gen nem stimuleringen heraf.
It is therefore rather surprising that Mr de Vries's report, good though it is, does not include an opinion from the Committee on Youth, Culture, Education, Information and Sport.
Min gruppe værdsætter de forskellige kommissionsinitiativer — jeg tænker på f.eks. Grønbogen — selv om vi jo har visse indvendinger herimod.
This would perhaps have made the report more balanced, because film and television cannot be considered solely in financial, economic and trade terms.
Men initiativet er jo vigtigt, MAC/pakkestandarder, højopløsnings-tv — frem står der alligevel et billede af overordentlig mange initiativer uden tilstrækkelig tydelige tyngdepunkter.
There is also a danger that, with the completion of the internal market, free com petition will play too large a part in the debate.
Men alene i betragtning af den betydning, som software i økonomisk henseende her repræsenterer også ud fra en industripolitisk synsvinkel, ville en mere målrettet strategi alligevel være nødvendig.
What good is there in complain ing about concentration, what good is there in com plaining about 'Americanization' when we find the Commission itself instructing my country, the Belgian-Flemish authorities, for example, not to impose a quota on its broadcasting stations in favour of Dutchlanguage programmes?
Hvad det angår, har præsident François Mitterrand talt om nødvendigheden af at lave en slags audiovisuel EUREKA for Europa.
We feel this runs counter to the purely cultural principles of the differentiated approach.
Vi støtter dette fuldt ud, hovedsagelig fordi vi tror, at det er vigtigt at bevare den europæiske kulturs særegenhed og vore traditionelle værdier.
I therefore call for a more cultural approach to the problem, in which the diversity and wealth of cultures must, of course, be respected.
Dette burde ske gennem privat- og offentligretlige initiativer. ver.
This diversity must be viewed positively.
Vi kan således vanskeligt forstå, hvorfor Kommis sionen griber ind over for det flamske kabeldekret, som ville følge disse målsætninger med hensyn til bevarelse af den europæiske produktion og støtten deraf.
The best way of doing this at the moment is to offer maximum encouragement to European coproductions and to earmark the necessary funds — which the States of the Community could release for this purpose.
Beumer (PPE). — (NL) Hr. formand, på min gruppes vegne vil jeg gerne fremsætte et par bemærkninger.
ULBURGHS (NI). — (NL) Mr President, the audiovisual sector is very important for Europe's cultural identity.
Til sidst vil jeg gerne stille følgende spørgsmål.
Europe should have its own film industry and internal market in this sector.
Hvilken konsekvens drager og kan Kommissionen drage af Rådets erklæring i Hannover om, at der skal lægges større vægt på den audiovisuelle sektor?
Because of all the legal, administrative and technical obstacles, intraEuropean audiovisual business accounts for only 8% of all European transactions.
Hvordan omsætter den det til konkrete handlinger?
One of the technical obstacles is the copyright problem.
For det andet, følger Kommissionen den nuværende bølge af multimediakoncentrationer — jeg tænker på Murdoch, Maxwell osv. — også i lyset af konkurrencereglerne?
Knowing that the Commission has already drawn up a Green Paper on copyright, on which the Committee on Legal Affairs and Citizens' Rights has drawn up a report, I have tabled two amendments on this subject, since intraEuropean business is not good simply because there is no legislation on copyright.
Hvordan bedømmer den disse ud fra en økonomisk synsvinkel? Hvilken fordel ser den heri?
Of course there are other problems — and they are dealt with in this report — which will have to be set tled too.
Jeg vil gøre opmærksom på det punkt, som hr. De Vries også anførte.
But we have to start with the most urgent of them and we have to do it fast.
Er den ikke af den opfattelse, at også den kulturelle mangfoldighed hermed kan komme i fare, og at der kan opstå spændinger mellem økonomiske og kulturelle interesser?
I maintain that the survival of the film and television industry is as important as the financial, tax and social problems we are con cerned about.
Endelig er i den europæiske filmindustri navnlig distributionen en af flaskehalsene.
Our being and our influence outside the Community frontiers depend on it.
I 1988 blev der oprettet et kontor, som skulle fremme navnlig filmdistributionen.
Cinema and television have become major poles of attraction for the 21st century and we must never forget that fact.
Kontoret har nu fungeret i et år.
IN THE CHAIR: MR ALBER
Der står meget tydelige tal deri.
There is, for example, the case of the RAI broadcast ing company in Belgium.
Jeg tænker f.eks. på den kendsgerning, at halvdelen af dette marked på 26 milliarder er behersket af Amerika.
This is a major problem primarily for the 300 000 Italian immigrants in Belgium, since American film producers demand royalties for distribution in Belgium, even though royalties have already been paid in Italy.
Her ligger efter vor opfattelse både for med
As the European film and television market does not have any legislation on this, television without frontiers is still a dream in Europe.
Cassidy (ED). — (EN) Hr. formand, jeg komplimenterer hr. De Vries, ordføreren, for en overordentlig god betænkning, som er blevet gjort endnu bedre — hvis han tillader mig at sige det — ved at man har medtaget nogle af mine ændringsforslag
VANDEMEULEBROUCKE (ARC). — (NL) Mr President, culture is a forgotten dimension in the
Cassidy under drøftelserne i Udvalget om Økonomi, Valutaspørgsmål og Industripolitik.
Ulburghs immigrants in my country, who are suffering because of this problem.
af amerikansk oprindelse. Derfor bør man skaffe sig midler til at imødegå denne fare ved at skabe en samlet front med passende midler.
troika, should try to open up markets in the East where a huge audience lives in exile from a traditional European culture that is an essential ingredient of its own.
I øjeblikket er den bedste måde at gøre det på i størst muligt omfang at fremme europæisk samproduktion og at reservere de nødvendige pengemidler, som kunne komme fra Fællesskabets medlemsstater, til disse film.
I now wish to do the same for the Portuguese Socialist delegation and to contribute a few considerations of a specifically Portuguese nature to emphasize the need for the policy the rapporteur is putting forward and measures he is advocating.
Samtidig bør der gøres en stor indsats, for at drejebøger og manuskripter bliver af exceptionel kvalitet, og det bør kræves, at filmene laves, så Fællesskabets tilskuere og seere indser den euro pæiske interesse, men også får en særlig grund til at interessere sig for dem.
We should concentrate on programmes, incessantly, relentlessly even; otherwise even if, as we trust, we win our other battles, we shall simply end up creating bodies, launching satellites and achieving high definition systems that gobble up other people's programmes — at the expense of our cultural identity and our pockets.
Den eneste del, hvor min gruppe har forbehold, er punkt 9 i beslutningsforslaget, som opfordrer Kom missionen til at » undersøge det eventuelle behov for regler for fastsættelse af frigivelsesfrister for forevisning af programmer «.
If only, on 2 April, at the closing ceremony in Portugal of European Cinema and Television" Year, an audiovisual policy that addressed problems and pro posed solutions had been announced simultaneously at Community and national levels !
Vi er imod dette, fordi det ikke erkender den måde, hvorpå filmindustrien nu har udviklet sig. De af vore venner, hr. formand, som er filmkritikere for kendte nationale aviser, vil uden tvivl fortalt Dem, at nu om stunder ender de fleste film, som vises under internationale filmfestivaler såsom filmfestivalen i Cannes og andre steder, rent faktisk i tv. Enhver begrænsning med hensyn til den periode, inden hvis udløb de ikke kan vises i tv, hæmmer i realiteten filmindustrien.
However let us leave the wider discussion until another occasion in the not too distant future.
Men man bør begynde med de mest presserende og handle hurtigt.
The Portuguese have been taken by surprise.
Jeg påpeger, at film- og tv- industriens overleven er lige så vigtig som de finansielle, skattemæssige og sociale problemer, som vi beskæftiger os med. Det er vor enhed og udstråling ud over Fællesskabets grænser, der står på spil. 2000-tallets film og tv er blevet til betydningsfulde tiltrækningspunkter, det bør vi aldrig glemme.
Zero rating on cinema tickets in Portugal has come under fire from the proposal for fiscal harmonization under con sideration by the Commission and Parliament — even before there has been any proper planning or discussion with those affected by the restructuring of the industry such a major change necessarily implies.
Jeg ved, at der er forførende røster i visse fællesskabs lande, som råber højt om biografens betydning.
In Portugal cinema and television are still controlled by different organizations, even though the over whelming need for links between them and the com plementary nature of both are becoming increasingly obvious.
Vi vil derfor stemme imod punkt 9, men dette mindsker på ingen måde min gruppes helhjertede beundring for ordføreren og hans arbejde i denne forbindelse.
Anyone can be liberal when it suits, protectionist when necessity dictates or pro — state intervention when afraid of losing control.
FORSÆDE: SIEGBERT ALBER
We need less red tape and more positive action.
Baudouin (RDE). — (FR) Hr. formand, kære kolleger, vi synes, at hr. De Vries' betænkning er glimrende, da den gennemgår alle den europæiske filmog tv- industris problemer.
How ever much they come under fire in the name of liberal ism, quotas in favour of European and national audiovisual products are definitely right. Creating out lets will bring about rapid changes in production and quality will benefit as a result.
Vi ved, at alle de rejste problemer, som virkelig er problemer, ikke straks kan finde deres løsning.
We should look at the ways in which, as the rapporteur recommends, the European Investment Bank can contribute to revitalizing the industry.
Jeg mener, at man på nuværende tidspunkt bør gruppere dem og fastsætte nogle prioriteringer.
There should be control, through appropriate legislation, of mergers likely to affect competition, and, indirectly, the freedom of the mass communications industry.
For det første vil jeg tro, at det nye europæiske filmdistribueringskontor kan gøre en udmærket ind sats.
KRISTOFFERSEN (ED). — (DA) Mr President, I have read this report by Mr de Vries with great interest.
Som ordføreren tror også jeg, at flersprogetheden bør udgøre en af de kommende års prioriteringer.
I sympathize strongly with the industrial policy concern that European television technology should be able to secure a better position for itself on the market in Western Europe, in keen competition with the Japanese.
Det er givet, at en af de største forhindringer for kulturel og kreativ samling for alle vore folk er og bliver sprogbarrieren, selv om der er gjort nogle få fremskridt.
I am glad that Mr de Vries took issue the — in my view — monstrous quota system which has been proposed — I have seen shares men tioned of 60% for European production and 40% for production from outside.
Heldigvis gør nogle omend fortsat kom plicerede og dyre tekniske metoder det muligt at overvinde denne alvorlige vanskelighed.
That is something which should be left to the television stations themselves to decide.
Det bør gøres hurtigt, da det er det bedste middel til at gøre medlemsstaternes befolkninger interesserede i de for skellige landes produktioner.
Even though I would be happy to see less Dallas, Denver and Miami Beach, whatever they are all called.
Men prioriteringen over alle prioriteringer er at bryde europæernes afhængighed af amerikanerne.
I noted the passage on possibilities for the provision of funding for the development of fiction production scripts.
Det er ikke acceptabelt, at gennemsnitligt over 50% af samtlige film, der distribueres inden for Fælles skaber, og faktisk over 70% af alle handlingsfilm er
That sounds very interesting to me. Perhaps it could be done in conjunction with co-productions between different television companies in Europe.
Det er derfor temmelig mærkværdigt, at der i forbindelse med denne gode betænkning udarbejdet af hr. De Vries ikke er afgivet nogen udtalelse af Kulturudvalget.
In my view there is such a thing as European culture, but it is especially varied, many-faceted and subtle in its diversity.
Det ville måske have været bedre for ligevægten i betænkningen, for film og fjernsyn kan ikke behandles udelukkende ud fra finansielle, økonomiske og handelsmæssige interesser.
It is a patchwork quilt consisting of many elements, and it is one of the tasks of television to reflect that.
Der er også fare for, at diskussionen i lyset af fuldførelsen af det indre marked føres alt for ensidigt ud fra ønsket om fri konkurrence.
To end with, let me ask a question: how do matters stand with regard to the provision of funding for fiction productions, assistance for the development of scripts, the completion of the productions themselves?
En sådan holdning fører til mærkelige situationer, og jeg giver Dem et eksempel.
The question is addressed to the Commission.
Hvad hjælper det at klage over koncentrationen, hvad hjælper det at klage over den såkaldte amerikanisering, når vi konstaterer, at Kommissionen selv giver f.eks. mit land, de belgiskflamske myndigheder, til opgave ikke at pålægge sine sendere nogen kvota for sine egne nederlandsksprogede udsendelser.
The Commission, in order to formulate a reliablybased strategy, must obtain for this sector the kind of statistics it was able to call upon in its proposal for promoting cultural action.