natgillin/translations-raw huggingface dataset:
Mangelen på storproduktion inden for den europæiske biograffilmindustri, hvor den aktuelle produktion nu er alt for begrænset af de alt for snævre nationale markeder til at kunne sikre en progression i investeringerne og disses rentabilitet, udmønter sig på alle niveauer, i så vel de første som de sidste produktionsled i egentlig forstand.
Where this happens, European operators become experts in milking these schemes and are then in capable of taking financial risks commensurate with the box-office receipts they can expect. They then develop projects without a thought for potential audiences, knowing full well that a substantial proportion of production costs will be covered by public aid.
Dette fører til en tillidskrise, hvor den eu ropæiske kapital vendersig i retning mod især den nordamerikanske programindustri.
With rising production costs compounded by failure to break into the different markets, the European film industry is being sucked into the spiral of chronic deficit.
iv) Støtteordningernes utilsigtede virkninger
The fact that some films produced with public funding are never distributed in cinemas is clear evidence of this.
Udover manglerne i tilknytning til støtteordningernes alt for ofte kun lokale dimension kan øgningen af de nationale og regionale midler ti I støtte for spillefilmproduktionen,
The principle of public aid is not in itself the cause ofth is phenomenon; it can be an effective stimulus for the
i) Eksplosion i efterspørgslen og stigning i produktionsomkostningerne ningerne
The increasingly imminent transition from analog to digital broad casting is so rich in potential that it is not excessive to use the term 'revolutionary'.
Trods disse film- og t v-modellers specifikke karakter er den europæiske programindustri dog generelt karakteriseret af:
Moreover, as most of the new broad casting services have been developed on a national basis, television production has focused on satisfying national audiences with very little by way of pro gramme circulation within the Community (otherthan in language areas).
Stigningen i antallet af radiospredningsorganer i løbet af 1980'erne i tillæg til forlængelsen af den daglige sendetid har medført en eksplosion i programefterspørgslen.
At the same time there is a tendency for broadcasters to integrate vertically, upstream towards production but also downstream towards conditional access technologies and individual receiving equip ment.9Recent alliances in Europe show that this tendency is set to in crease, focusing on communications groups of telecommunications operators, catalogue holders and equipment manufacturers.
Omfanget af koproduktioner og samfinansieringer, som inddrager operatører fra flere medlemsstater, er utilstrækkeligt ti I, at der udformes projekter, som kan interessere både de europæiske seere og verdenspublikummet.
Based on digital compression (the vast quantity of information needed to transmit a moving ¡mage is 'compressed' by means of algorithms), which is becoming increasingly sophisticated with every day that passes, digital transmission makes it possible:
Denne mangel mærkes især inden for produktion af tv-film, men også i produktionen af serier, tegnefilm og dokumentarprogrammer i betragtning af det omfang, denne form for programmer har i katalogerne.
Despite the d ifferences between the cinema and television sectors, the European programme industry can be said to display the following characteristics:
Det er »lagere-programmer, som i princippet kan ud nyttes under utallige former i tidens løb.
• to relay much more information on the same communications vector;
Men det er kataloger med den ne type programmer, som udgør en tv-programindustris økonomiske grundlag.
• it is fragmented into national markets threatening the survival of small producers unable to compete on European and world markets;
• sin fragmentering omkring nationale markeder, som næppe giver mulighed for, at virksomheder kan overleve, som ikke har tilstrækkelig størrelse til at kun ne klare det europæiske marked og verdensmarkedet iii) Svagheden i produktionsstrukturerne og i katalogerne
• to relay the same information on many different vectors (radio waves, cable, satellite, telephone lines, etc.) and develop multilevel userinteractivity;
• opsplitningen i disse nationale markeder, som forstærkes af svagheden i distributionen og i programmernes tværnationale bevægelighed
• to access, store, rework and combine information at will in line with user requirements;
• sin indesluttethed i den kroniske underskudsspiral
• the partitioning of national markets is compounded by a low rate of crossborder programme distribution and circulation;
Stigningen i sektorens indtægter har ikke gjort det muligt at udligne de stigende produktionsomkostninger eller himmelflugten i priserne for transmissionsrettighederne til sportsbegivenheder.
The small number of coproduction and co-financing ventures involving operators from more than one Member State is not conducive to the development of projects likely to attract European or world audiences.
Programbudgetterne er blevet mindre, og radiospredningsorganerne har været nødt til at gribe til massiv import af ikkeeuropæiske programmer fra kataloger, som allerede har været brugt på andre markeder.
This has had an adverse effect on the production of television films in particular but television series, cartoons and documentaries are also affected, and these pro grammes are vital for the creation of catalogues.
ii) Programmernes beskedne bevægelighed internt i Europa
• it is trapped in a chronic deficit spiral;
Produktionsstrukturerne er stadig atomiserede og ofte afhængige af ét eller to nationale radiospredningsorganer, og deres størrelse er utilstrækkelig til at klare større markeder.
The large in vestment required can be justified in economic and social terms by this extensive scope for utilization and the potential benefits for the user and profits for the supplier.
Deres kapitalgrundlag er for svagt, og deres egne midlers be grænsninger mindsker deres chancer for at udarbejde kataloger, da hovedparten af rettighederne i tilknytning til programmerne generelt overlades til de radiospredningsorganer, som varetager finansieringen af produktionen.
• it is unable to attract Euro pean capital, even though this is available for investment in non-European programme in dustries.
Da hovedparten af de nye radiospredningsorganerdesuden har ud viklet sig på et rent nationalt grund lag, er tv-produktionen centreret om at tilfredsstille de nationale seeres behov med programmer, som kun i meget beskedent omfang cirkulerer inden for EU (mere eller mindre inden for homogene sprog områder).
The first possibility provides the audiovisual sector10with a double option: quantity, quality or a combination of the two.
I en tid, hvor betalingsfjernsynets fremkomst har gjort det klart, hvilken strategisk rolle katalogerne spil lerfor lanceringen af nye serier, lider den europæiske tv-industri under disse strukturelle svagheder.
They are undercapitalized and limited resources reduce their potential for building up catalogues, as programme rights are for the most part usually granted to broadcasters financing the pro duction.
9) Det individuelle modtageudstyr er primært (ud over dekodere) parabolantenner.
(apart satellite dishes.
Sideløbende kan man notere en tendens til vertikal integration af radiospredningsorganerne i de led, der ligger forud for produktionen, men også i de senere led i retning mod teknologierne for betinget adgang og individuelt modtageud-
At a time when the emergence of pay-television has highlighted the strategic role played by catalogues in the launching of new services, these structural weaknesses are the Achilles' heel of the European television industry.
* Den første mulighed åbner to valgmuligheder for de audiovisuel le tjenester10). De får mulighed for transmissionsformerne vil ske ud fra det interaktionsniveau med slutforbrugeren, som kræves for hver en kelt form for servicetilbud.
The quantity option will enable operators to use one and the same vector, eitherto providea number of different services (increasingly specialized in nature) or to provide a single service on a staggered basis (near video-on-demand).
at vælge mellem transmissionens kvantitet og kval itet eller for at kombinere de to.
ware (in the broad sense) industries will probably need to establish and develop new forms of cooperation and strategic alliance to exploit their respective strengths.
Overgangen fra analog transmission til digital transmission, som rykker stadig nærmere, frembyder muligheder af en sådan art, at det berettiger til karakteristikken »revolutionerende«. lutionerende«.
If the multimedia opportunities are to benefit European firms, all parties involved must be given sufficient in centive to cooperate.
* Den tredje mulighed giver praktisk taget adgang til alle informationer på alle tidspunkter. Den er også rettet mod det multimediebegreb, som giver mulighed for frit at kombinere billeder, tekster og lyd, hvor ved slutbrugerne bliver i stand til frit at bevæge sig rundt i den samlede mængde disponible informationer.
Although the public has always been the raison d'être of the audiovisual programme or operator, it is the different distribution or transmission modes, and the economics underpinning them, that largely shape the influence of the consumer on the process as a whole.
Den kvantitative valgmulighed giver tjenesterne mulighed for at be nytte én og samme bærer, enten til at tilbyde flere forskellige servicetil bud (en stadig mere målrettet tilbudspakke) eller til at transmittere ét og samme servicetilbud med tidsforskydning (Near Video on Demand).
Thequality option will enablethem to play around with the different broadcasting parameters ranging from HDTV through the entire range of image quality and formats to mobile television and with the different sound channels and an cillary services (teletext etc.) on one and the same transmission vector.
Den digitale spredning bygger på numerisk kompression, som hver dag udvikler sig mærkbart (den enorme mængde informationer, som kræves til transmission af et billede i bevægelse, er»komprimeret«, dvs. formindsket via algoritmer), og den giver mulighed for:
The fourth possibility makes it difficult to accept that delays in in troducing advanced digital in frastructures should jeopardize not only the availability to the consumer of a range of educational, entertainment and information services, but also the development of business services for professional users, on which the competitiveness of European companies depends.
Den kvalitative valgmulighed giver mulighed for at jonglere med de forskellige kvalitative parametre for audiovisuel spredning, lige fra højopløsningstilbud til mobilttv via al le former for billedkvaliteter og -formater samt forskellige lyd kanaler og hermed forbundne servicetilbud (tekst-tv osv.) på én og samme transmissionsbærer.
Alongside the mass media approach offering 'television for all' financed from licence fees or advertising revenues, the development of pay-television, subject-based or otherwise, has resulted in the phenomenon of channel loyalty, with viewers who are fewer in number but may well directly finance the service to which they subscribe.
1 betragtning af den igangværende teknologiske (digitale) revolutions betydning og hastighed vil de euro pæiske hardware- og softwareindustrier (i bred forstand) sandsynligvis få behov for at søge og udvikle nye samarbejdsformer og strategiske al liancer for at kunne udnytte deres respektive styrker.
The rich potential offered by digital transmission applies to all our communications systems but its impact on the economies of the image business will be decisive.
Hvis multimediemulighederne skal blive til fordel for de europæiske virksomheder, bør alle aktørerne kunne finde tilstrækkelige stimulerende midler til at samarbejde i denne retning.
Without opting for any given scenario it is possible to anticipate the main trends likely to result from this technological evolution, particular ly as mosf of them are simply a consolidation or acceleration of trends already apparent on the audiovisual market.
• at få adgang til informationerne, lagre dem, bearbejde dem og kombinere dem efter ønske, alt efter slutbrugerens behov
• pay-per-view (PPV) enables the consumerto selecta broadcastfrom a programme schedule limited both by the number of broadcasts and by the start-times (forexample, 10films starting every quarter of an hour); the consumer pays only for the pro gramme selected;
• på de samme net at kombinere servicetilbud til forbrugerne og til virksomhederne.
The second possibility places on an equal footing all the different modes of programme transmission, practically fusing broadcasting and telecommunications.
Den økonomiske og sociale begrundelse for den omfattende investering, som kræves, hænger sammen med denne mulighed for udvidet udnyttelse samt med de mul ige fordele for såvel brugeren som for virksomhederne, som leverer servicetilbuddene.
Thanks to digital technology, which has the potential to reduce the constraints imposed by frequency availability, access to a communications vector will become less and less costly.
* Den anden mulighed åbner for fuld konkurrence mellem alle for mer for transmission af audiovisuel le programmer, hvorved radiotransmission og telekommunikation nøje sammenblandes. Takket være de digitale teknologier bliver adgangen til en kommunikationsbærer stadig billigere.
While the potential of digital technology can easily be realized with cable and satellite broad casting, exploiting this potential with land-based radio transmission will depend toa very large extent on the approaches adopted by the Member States concerning the distribution of frequencies.
Disse teknologier giver mulighed for at mindske be grænsningerne som følge af frekvensknapheden.
Transmission modes will be selected depending on the level of user interactivity required.
Selvom man med lethed kan udnytte mulighederne for digitaliseret spredning via satellit og via kabel, så afhænger udnyttelsen af dette potentiale for radiojordspredningens vedkommende i høj grad af de metoder, medlemsstaterne vælger at følge i frekvensplanlægningen. Afgørelserne om
• video-on-demand (VOD) enables the consumer to select, at any time, a programme (or pro gramme extract) from a catalogue which is virtually unlimited (the only limits are economic — capacity to acquire broadcasting rights — and technical — server storage and management capacity); the consumer pays only for the pro gramme (or extract) selected;
Deter, uden dog at have valgt en præcis situation, muligt at indkredse de store tendenser, som denne teknologiske revolution afføder, så meget des mere, fordi hovedparten af d isse tendenser kun eren forstær-
In view of the scale and speed of the technological (digital) revolution, the European hardware and soft
katalog (begrænsningerne er af økonomisk art — kapacitet til at opnå senderettighederne til program merne — og teknisk art — databasecentrets lager-og styrings kapacitet); forbrugeren betaler kun fordetvalgte program (eller uddrag).
will benefit. But this wil I only be the case if the operators in question develop a content-based strategy: the potential of the broadcaster wil I be directly determined by whatever exclusive rights he has managed to acquire.
Selv om forbrugerne altid har været eksistensberettigelsen for det au diovisuelle program eller servicetil bud, så influerer de forskellige for mer for distribution eller transmission af disse programmer og ser vicetilbud samt den økonomiske orden, som ligger til grund herfor, i vidt omfang på forbrugerens vægt i den samlede proces.
This content-based strategy, which applies in the case both of communications groups and of equipment manufacturers or telecommunications operators, is clearly reflected in the alliances currently being formed, in particular in the United States of America: the vertical integration of MCA and Matsushita, Columbia and Sony, Polygram and Philips, and Paramount and Viacom demonstrate that the most powerful operators on the world market are striving to acquire control of the most extensive programme catalogues.
De stadig voksende produktions omkostninger til de audiovisuelle programmer har gjort det nødvendigt at udvide deres afsætningsmarked, enten ved at målrette dem mod nye områder eller ved at diversificere udnyttelsesformerne.
An analytical appraisal of the audiovisual sector with a view to the imminent digital revolution reveals three different functions:
Denne ud videlse kræver dernæst nye investe ringer, især i salgsVdistributionsleddet, som med tiden vil gøre det på krævet, at der udvikles en global strategi på verdensplan.
• the rights holder, who provides the programme;
I tillæg til »massemediernes« logi ske orden, som strukturerer det ge nerelle udbud af tvprogrammer fi nansieret via licensafgifter eller re klamer, har udviklingen af betalingsfjemsynet, hvad enten det er tematisk eller ej, indført en logisk orden for loyalisering af seerne, som nok er færre i antal, men som direkte kan finansiere det servicetilbud, de abonnerer på.
The emergence of new technology for the development of transnational — even transcontinental — audiovisual facilities (satellite, cable, telephone) and for the diversification of storage media (videocassette, videodisc, CD-ROM,"
Denne overgang fra en mere el ler mindre passiv forbruger til en aktiv forbruger er ikke uden konsekvenser for den audiovisuelle sektors økonomi.
• the broadcaster, who offers a package based on market knowledge;
Kampen om seerne vil især gøre det nødvendigt at styrke pro gramindustriens salgs-/distribu-tionsled.
CD-I12) is only one indication of the trend towards the internationaliza
Den europæiske programindustri har oftere indrettet sig efter denne tendens end fulgt den.
• the communications vector, which provides the necessary medium.
Indførelsen af nye former for servicetilbud vil fremskynde denne pro ces for individualisering af udbud det, som vil være struktureret omkring forbrugerens valg og købekraft. Som eksempel kan nævnes:
The new opportunities which this opens up for rights holders will be measured firstly in terms of quality: the quality of a programme will be determined by the ratio between the number of consumers it is likely to attract and the price they will pay to watch it.
• Pay-per-View (PPV) giver forbrugeren mulighed for selv at vælge en udsendelse i et katalog, som er be grænset både med hensyn til antal let af udsendte programmer og i form af faste tidspunkter for udsendelsens begyndelse (for eksempel 10 film, som begynder hvert kvarter); forbrugeren betaler kun for den valgte udsendelse.
a Invented in 1985 by Philips, CD-ROM (compact disc read only memory) is capable of storing an enormous quantity of multimedia information (images, sounds, texts, etc.) that can be read by microcomputer. computer.
u) CD-I (Compact Disc Interactive) er op fundet af Philips ogSony og er som CD-ROM en multimedieapplikationsbærer, men som læseren tilslutter direkte til fjernsynet med brugsfaciliteter i tilknytning til fjernbetjeningen.
,2Invented by Philips and Sony, CD-I (compact disc interactive), like CD-ROM, stores multimedia applications but the drive is connected direct to the television and is operated by remote control.
Der er allerede talrige programtitler til gængelige for den store offentlighed (spil, undervisning, kultur, film) på markedet.
A large number of programme titles for the general public (games, education, culture, cinema) are already available on the market.
• Video-on-Demand (VOD) giver forbrugeren mulighed for på et hvilket som helsttidspunkt selv atvælge et program (el ler et uddrag af et pro gram) i et praktisk taget ubegrænset
Quite clearly, at the centre of the market develop ment process, it will be the operators who develop new applications and provide the consumerwith a variety of services who
mere magtfulde operatører på ver densmarkedet forsøger at kontrol lere de vigtigste programkataloger.
Structuring the catalogues and boosting the production capacity of the European programme industry is therefore a fundamental challenge.
Et nuanceret syn på den audiovisuelle sektor i lyset af den digitale revolution giver mulighed for at skelne mellem tre forskellige funktioner: tioner:
The educational, information and entertainment functions traditionally assumed by television — although the arrangements vary from one Member State to another — will be developed on new applications using the potential of multimedia and interactivity.
• den audiovisuelle tjeneste strukturerer et specifikt udbud i kraftaf sit kendskab til de forskellige markeder
It is difficult to predict what wil I be the respective place (in cultural as well as economic terms) of the different types of audiovisual product in this new environment.
• kommunikationsbæreren er en støtte for tjenesterne.
In all these areas, the extension of the range of products already present on the market opens up pro spects of certain new links within the programme industry.
Kapaciteten til at udbyde en stor mangfoldighed af programmer, hvilket er en af de vigtigste kon sekvenser af den digitale revolution, bevirker, at man kan imødekomme en meget differentieret vifte af behov og brugertyper.
The capacity to offer a wide selection of programmes, one of the main results of the digital revolution, will enable the in dustry to cater for a wide range of requirements and types of user.
Stordriftsfordelene for programproduktionen vil altid være betydelige, men der vil op stå talrige muligheder for pro grammer, som er rettet mod be grænsede og specialiserede for brugergrupper.
Economies of scale in pro gramme production will always be important, but many opportunities will arise for programmes geared to limited and specialized audiences.
Dette element er vigtigt i betragtning af, at den kulturelle fragmentering i Euro pa har været en negativ faktor for den europæiske audiovisuel le industris konkurrenceevne: Udnyttelsen af den kulturelle mangfoldighed kan blive til en mulighed.
This is worth bearing in mind, since the cultural fragmentation of Europe has been a negative factor for the competitiveness of the European audiovisual in dustry: exploiting cultural diversity can be turned into an opportunity to be seized.
NYE PRODUKTER
NEW PRODUCTS
Udfordringen i tilknytning til struktureringen af katalogerne og styrkelsen af de europæiske programindustriers produktionskapacitet viser sig derfor at være fundamental.
While this rapid overview of the many problems connected with the arrival of new multimedia products shows that it is impossible to define the frontiers of the audiovisual sector, it is also clear that a definition must be given of the programme in dustry, to which this Green Paper relates.
Digitaliseringen vil ikke udelukkende medføre en diversificering af distributionsmidlerne og i bred for stand af de audiovisuelle program mer.
By programme industry, we mean the industry producing cinema films and television programmes.
De nye bærere (CD-1, CD-ROM) og de nye tjenester (opkaldstjenester, databaser osv.) ændrer fuldstændigt begrebet audiovisuel le programmer og fører til et bredt udbud af nye audiovisuelle pro dukter.
First of all, the relationship between traditional programmes (cinema and television) and new products can be put in terms of synergy in the context of the globalization of the industry: for instance, a film (or cartoon) which has been a worldwide hit will quickly be taken up as the basis for a new video game (the characters and decors can be direct ly integrated in the game in digital form); similarly computer-assisted production of images for games pro vides basic experience for the pro duction of cartoons or special effects in films. Quite simply, any im-