natgillin/translations-raw huggingface dataset:
For the reasons set out above, the criterion based on the share of artistic expenditure in the budget appears as a relevant criterion for assessing the cultural content of video games in the case under review.
Zaradi zgoraj navedenih razlogov se zdi, da je merilo, ki temelji na deležu umetniških stroškov v proračunu, v tem primeru ustrezno za ocenjevanje kulturne vsebine video iger.
The criterion awarding one point if the game deals with political, social or cultural issues of relevance to European citizens and/or reflects values specific to European societies is itself also relevant in so far as those values are the expression of Europe’s cultural identities.
Tudi merilo, na podlagi katerega se igram s politično, socialno ali kulturno problematiko, ki je blizu evropskim državljanom in/ali izraža značilne vrednote evropske družbe, dodeli ena točka, je ustrezno, kadar te izražajo evropsko kulturno identiteto.
As regards the two language criteria (original version of the scenario in French, and original version of the game published in at least three languages of the European Union, including French), which award two points in total, it should first be noted that they are virtually always met in the case of the games covered by the simulation presented by the French authorities and that, in this respect, they are relatively non-discriminatory.
Kar zadeva obe jezikovni merili (izvirna različica osnovnega načrta za igro je v francoščini, izvirna različica igre se izda v vsaj treh jezikih Evropske unije, vključno s francoščino), na podlagi katerih se lahko dodelita skupaj dve točki, je treba najprej poudariti, da igre, vključene v simulacijo, ki so jo izvedli francoski organi, skoraj vedno izpolnjujejo navedeni merili, ki sta torej sorazmerno malo razlikovalni.
Second, certain reservations can be expressed regarding their actual relevance when it comes to assessing the cultural content of a video game.
Razen tega je mogoče dvomiti, ali sta zares primerni za ocenjevanje kulturne vsebine video iger.
Without in any way challenging the fundamental cultural importance of language, it would seem that this plays a less essential role in the cultural nature of a video game than, for example, in the case of a film or a book.
Zdi se, da je jezik za kulturni značaj video iger manj bistven kot na primer pri filmu ali knjigi, pri čemer se nikakor ne zanika njegovega temeljnega kulturnega pomena.
It would seem that the language of a video game can be changed without affecting the integrity of the work, something which is not the case with the dubbing of a film or the translation of a book.
Dejansko se zdi, da je mogoče spremeniti jezik video igre, ne da bi to vplivalo na celovitost dela, medtem ko je pri sinhronizaciji filma ali prevodu knjige drugače.
The fourth part of the selection test comprises the criteria linked to the location of expenditure and the nationality of the creative collaborators.
Četrti del izbirnega preskusa vključuje merila, povezana s krajem nastanka stroškov in državljanstvom produkcijskih sodelavcev.
Although the contribution made by European creative collaborators may have an indirect effect on the European cultural nature of a video game, the location- and nationality-related criteria still have no direct link to the cultural content of eligible video games given the characteristics peculiar to the video game sector.
Čeprav lahko prispevek evropskih avtorjev posredno vpliva na evropski kulturni značaj video igre, merili v zvezi s krajem nastanka stroškov in državljanstvom nista neposredno povezani s kulturno vsebino upravičenih video iger ob upoštevanju značilnosti sektorja video iger.
In its ‘UK Film Tax Incentive’ decision, the Commission came to the same conclusions regarding similar criteria applied by the UK authorities in connection with a tax credit scheme.
Komisija je enako ugotovila tudi v svoji odločbi o davčnih olajšavah za film v Združenem kraljestvu glede podobnih meril, ki jih uporabljajo britanski organi v okviru mehanizma davčnega dobropisa.
The fifth part of the test comprises the criteria related to editorial and technological innovation, which are more directly concerned with the software components of video games, the non-cultural nature of which has, in any case, been underscored by ISFE.
Peti del preskusa vključuje merila, povezana z inovativnostjo na področju založništva in tehnologije. Ta merila so bolj neposredno povezana s programsko opremo za video igre, za katero tudi ISFE poudarja, da nima kulturnega značaja.
This argument can be accepted and there is no reason to regard these criteria as being relevant when it comes to assessing the cultural content of eligible video games.
Ta argument je mogoče potrditi, zato se ta merila ne obravnavajo kot ustrezna za ocenjevanje kulturne vsebine upravičenih video iger.
It thus transpires that 14 out of a maximum of 22 points (12 points if the language criteria are not taken into account) are awarded in connection with criteria that can reasonably be regarded as aiming to promote culture within the meaning of Article 87(3)(d) of the Treaty.
Zdi se torej, da se 14 od največ 22 točk (12 točk, če se ne upoštevata jezikovni merili) dodeljuje na podlagi meril, za katera je mogoče razumno sklepati, da je njihov cilj pospeševanje kulture v smislu člena 87(3)(d) Pogodbe ES.
They therefore account for more than half of the available points.
To torej pomeni več kot polovico vseh možnih točk.
The Commission has also considered the extreme hypothetical situation where a game would be awarded maximum points for the criteria which may be regarded as not being relevant from a cultural viewpoint and for the language criteria.
Razen tega je Komisija predvidela hipotetični skrajni primer, v katerem bi igra dosegla največje število točk pri merilih, ki se lahko s kulturnega vidika obravnavajo kot neustrezna, in pri jezikovnih merilih.
Such a game would be awarded 10 points.
Takšna igra bi dobila 10 točk.
And so, it would still need to obtain a further 4 points on the basis of the criteria that are relevant from a cultural viewpoint in order to exceed the 14-point eligibility threshold.
Da bi presegla mejo 14 točk, potrebnih za upravičenost do ukrepa, bi torej morala dobiti še štiri točke na podlagi meril, ki so ustrezna s kulturnega vidika.
In any event, this ‘extreme hypothetical situation’ would not seem to arise all that frequently: of the 74 video games covered by the simulation provided by the French authorities, only 7 fall into that category, of which 6 were eligible but were all awarded more than 4 points on the basis of the relevant cultural criteria (and 6 points on the basis of the language criteria).
Vseeno kaže, da so takšni hipotetični skrajni primeri redki: od 74 video iger, vključenih v simulacijo francoskih organov, bi jih lahko le sedem uvrstili v to kategorijo. Med temi igrami je šest upravičenih do ukrepa, vendar so vse dosegle več kot štiri točke pri merilih, ki so s kulturnega vidika ustrezna (in šest ob upoštevanju jezikovnih meril).
In addition, the Commission notes that this new selection test based on a number of detailed criteria reduces the risk of subjectivity in the assessment of video games carried out by the committee of experts.
Komisija ugotavlja tudi, da se z novim izbirnim preskusom, ki temelji na vseh opredeljenih merilih, zmanjšuje tveganje za subjektivnost odbora strokovnjakov pri ocenjevanju video iger.
Lastly, the Commission would point out that the new selection test proposed by the French authorities is more restrictive than the test notified initially.
Komisija nazadnje poudarja, da je novi izbirni preskus, ki so ga predlagali francoski organi, bolj omejevalen kot prvotno priglašeni preskus.
For example, on the basis of the criteria described in the decision implementing the procedure, the simulations provided by the French authorities show that 49 % of video games manufactured in France in 2005-2006 would have been eligible, as against 31 % on the basis of the current test.
V skladu s tem na podlagi meril iz odločitve o sprožitvi postopka simulacije, ki so jih izvedli francoski organi, kažejo, da bi bilo upravičenih 49 % video iger, izdelanih v Franciji v obdobju 2005–2006, medtem ko bi bilo na podlagi sedanjega preskusa upravičenih 31 % teh iger.
As the Commission emphasised in its decision initiating the procedure, ‘if the measure resulted in support for the manufacturer of a large proportion of video games, it might then appear that it had been deflected from its avowed objective of promoting culture and that it could therefore have an industrial objective’ [23].
Kot je poudarila Komisija v svoji odločitvi o sprožitvi postopka, „se lahko sklepa, da se ukrep, ki spodbudi zelo obsežno proizvodnjo video iger, oddaljuje od načrtovanega cilja pospeševanja kulture in lahko ima komercialni cilj“ [23].
Given the characteristics peculiar to the video game sector, the fact that close on 30 % of games are selected indicates that the objective of the measure is not simply an industrial objective of providing support for a specific sector.
Ob upoštevanju značilnosti specifičnega sektorja video iger dejstvo, da je upravičenih približno 30 % iger, pomeni, da ukrep nima le komercialnega cilja zagotavljanja pomoči za ta specifični sektor.
It has, therefore, to be concluded that the French authorities have drawn up verifiable national criteria guaranteeing that the content of video games eligible for the tax credit is truly cultural and that the aid measure thus meets a genuine objective of promoting culture.
Zato je treba zaključiti, da so francoski organi sestavili preverljiva nacionalna merila za zagotovitev, da je vsebina video iger, upravičenih do davčnega dobropisa, resnično kulturna in da ukrep pomoči izpolnjuje dejanski cilj pospeševanja kulture.
Is the measure designed in such a way as to meet this cultural objective?
Ali je ukrep zasnovan za doseganje tega kulturnega cilja?
The Commission must make sure that the measure is appropriate, that it has a sufficient incentive effect and that it is proportional.
Komisija mora zagotoviti, da je ukrep ustrezen, da ima spodbujevalni učinek in da je sorazmeren.
Appropriate instrument
Ustreznost instrumenta
On this first point, the French authorities have explained that, in their view, the tax credit is the most appropriate instrument for meeting the objective being pursued.
V zvezi s prvo točko so francoski organi pojasnili, da je davčni dobropis po njihovem mnenju najustreznejši instrument za uresničevanje načrtovanega cilja.
They have looked into the possibility of notifying this measure under the Community framework for State Aid for research and development and innovation, something also suggested by ISFE, but they ruled it out notably because, with this legal basis, the measure could not be linked to the cultural content of video games and there was no way of ensuring some diversity in the supply of video games.
Francoski organi so predvideli možnost priglasitve tega ukrepa na podlagi okvira Skupnosti za državno pomoč za raziskave, razvoj in inovacije, kar predlaga tudi ISFE, vendar so to možnost izključili, zlasti ker ta pravna podlaga ne omogoča povezovanja ukrepa s kulturno vsebino upravičenih iger in ne zagotavlja določene stopnje raznolikosti ponudbe video iger.
Nor would it have been possible under the framework to grant the same level of aid as the tax credit.
Razen tega ta okvir ne bi omogočal enake ravni pomoči kot davčni dobropis.
The Commission acknowledges that, as designed, the tax credit actually allows public support to be channelled to games with a cultural content and that, in this regard, it appears to be an appropriate tool for achieving the cultural objective being pursued.
Komisija priznava, da tako zasnovan davčni dobropis omogoča učinkovito namenjanje javnih sredstev za igre s kulturno vsebino, zato se zdi, da je ustrezno orodje za doseganje tako zastavljenega kulturnega cilja.
The Commission would also stress that it has already come to the conclusion in previous decisions that measures in the form of a tax credit are compatible on the basis of Article 87(3)(d) of the Treaty [24].
Komisija prav tako poudarja, da je potrdila združljivost ukrepov v obliki davčnega dobropisa na podlagi člena 87(3)(d) Pogodbe ES že v preteklih odločbah [24].
The analysis of the video game market reveals a trend towards concentration of supply that is detrimental to independent production studios and hence to the diversity of supply [25].
Analiza trga za video igre kaže težnjo h koncentraciji ponudbe, ki škodi neodvisnim produkcijskim studiem in torej ogroža raznolikost ponudbe [25].
The video game market is, to a large extent, a global market on which games for consoles account for two thirds of sales.
Trg za video igre je v veliki meri svetovni trg, na katerem igre za konzole sestavljajo dve tretjini prodaje.
It is dominated largely by manufacturers of game consoles, who impose on video game manufacturers an authorisation and licensing system that accounts for up to 20 % of the game’s final price.
Na tem trgu prevladujejo zlasti proizvajalci igralnih konzol, ki za proizvajalce video iger določajo sistem dovoljenj in licenc, katerih stroški dosegajo tudi do 20 % končne cene igre.
In addition, the market is characterised by a fragmentation of technical standards and a lack of interoperability.
Razen tega sta za trg značilni tudi razdrobljenost tehničnih standardov in odsotnost interoperabilnosti.
Demand is determined by regular renewal and destruction, on average every six years, of household video game equipment (consoles and PCs).
Povpraševanje zaznamujeta redno posodabljanje in kvarjenje opreme za video igre (konzol in osebnih računalnikov) v gospodinjstvih, in sicer povprečno na šest let.
Accordingly, the video game industry is forever in a start-up phase, with very short production cycles and substantial investment.
Zato je industrija video iger stalno na začetni stopnji, zanjo pa so značilni tudi zelo kratki proizvodni cikli in obsežne naložbe.
Moreover, production costs can be written off on the publishing market, unlike, for example, the production costs of films, which can also be written off against broadcasting rights or DVD sales.
Razen tega se lahko amortizacija proizvodnih stroškov izvaja zlasti na založniškem trgu, v nasprotju na primer s stroški za proizvodnjo filmov, ki se lahko amortizirajo tudi s pravicami do televizijskega prenosa ali prodajo DVD-jev.
In this connection, according to the information provided, the French video game industry is, as a general rule, characterised by small production studios (fewer than 200 employees) that do not have sufficient financial capacity and are, therefore, dependent on publishers for financing their activities.
V tem smislu so v skladu s predloženimi informacijami za francosko industrijo video iger na splošno značilni majhni produkcijski studii (manj kot 200 zaposlenih), ki nimajo ustreznih finančnih sredstev in so zato pri financiranju svojega razvoja odvisni od založnikov.
The system whereby development studios are remunerated by publishers is a function of sales, once the production costs advanced by publishers have been met.
Sistem, na podlagi katerega založniki plačujejo razvojne studie, je odvisen od prodaje, vendar šele po tem, ko so pokriti proizvodni stroški, ki so jih vnaprej financirali založniki.
The French authorities have emphasised that the number of ‘cultural’ video games that could have met the selection test for the tax credit has been falling steadily since 2000.
Francoski organi so tako poudarili, da število „kulturnih“ video iger, ki bi lahko opravile izbirni preskus za ta davčni dobropis, od leta 2000 stalno upada.
As an example, they stress in particular that fewer and fewer video games have had a historical context (Versailles, Pompei, Egypt) since the production studio specialising in this genre, Cryo Interactive, closed down.
Kot primer poudarjajo zlasti, da je po zaprtju produkcijskega studia Cryo Interactive, specializiranega za video igre z zgodovinskim ozadjem (Versailles, Pompéi, Egypte), vedno manj tovrstnih iger.
A tax credit based on the criteria described in Section 5 of this Decision should promote the production of video games with a cultural content as opposed to games that are purely for entertainment in that it would reduce the former’s production costs.
Davčni dobropis na podlagi meril iz oddelka 5 te odločbe mora z zmanjšanjem proizvodnih stroškov spodbuditi proizvodnjo video iger s kulturno vsebino v primerjavi z igrami, ki so namenjene le zabavi.
There is, therefore, reason to conclude that the measure is liable to have a sufficient incentive effect relative to its objective.
Zato je treba zaključiti, da ima lahko ukrep spodbujevalni učinek, ki ustreza njegovemu cilju.
The Commission notes that the aid intensity is only 20 %, which is relatively low compared with the aid intensities normally authorised in the cultural field.
Komisija ugotavlja, da je intenzivnost pomoči le 20 %, kar je v primerjavi z intenzivnostjo pomoči, ki se običajno dodeljuje na kulturnem področju, sorazmerno malo.
For instance, the intensity normally authorised for the cinema or audiovisual production is 50 %.
Običajna intenzivnost pomoči, dodeljene na področju kinematografije ali avdiovizualne proizvodnje, je 50 %.
The Commission would also note that the eligible costs base is correct and defined in detail: thus, only operating expenditure excluding personnel costs and depreciation of assets other than buildings actually incurred by the aid beneficiary will be taken into account.
Razen tega Komisija ugotavlja, da je zdaj osnova upravičenih stroškov pravilno in natančno določena: tako se upoštevajo le obratovalni stroški (brez stroškov za osebje in nadomestil za amortizacijo osnovnih sredstev), ki jih dejansko krije upravičenec do pomoči.
This type of expenditure is no longer set at the flat rate of 75 % of personnel costs.
Ta vrsta izdatkov ni več pavšalno določena v višini 75 % stroškov za zaposlene.
It should, therefore, be concluded that the measure is also proportional.
Zato je ustrezno zaključiti, da je ukrep sorazmeren.
Moreover, since only the costs effectively incurred in the manufacture of eligible games is taken into account, the concern expressed by ISFE regarding the risk of cross-subsidisation between cultural and commercial games is no longer justifiable.
Razen tega zaskrbljenost združenja ISFE v zvezi s tveganjem za navzkrižno subvencioniranje kulturnih in komercialnih iger ni več utemeljena, ker se upoštevajo le stroški, ki dejansko nastanejo pri proizvodnji upravičenih iger.
On the basis of the figures provided by the French authorities, it transpires that the main competitors on the video game market are Japanese or North American manufacturers.
Na podlagi podatkov, ki so jih predložili francoski organi, se zdi, da sta glavna tekmeca na trgu za video igre Japonska in Severna Amerika.
Thus, the market shares of European publishers in 2005 on the main Europe on markets never exceed 20 %, averaging 18 %, as the following graph shows:
Tržni deleži evropskih založnikov na glavnih evropskih trgih leta 2005 niso nikoli presegli 20 %, povprečno pa so dosegali 18 %, kot kaže naslednji graf:
Germany
Nemčjia
European (Ubisoft, Atari, VUGames, Eidos)
evropski proizvajalci (Ubisoft, Atari, VU Games, Eidos)
Japanese (Nintendo, Sony, Konami, Namco, Capcom)
japonski proizvajalci (Nintendo, Sony, Konami, Namco, Capcom)
American (EA, Activision, THQ, Take2, Microsoft, Lucasarts)
ameriški proizvajalci (EA, Activision, THQ, Take2, Microsoft, Lucasarts)
These figures are corroborated by the list of the 50 most popular games in France in 2006 provided by ISFE: 21 of them are published by Japanese firms, 19 by US firms and 10 by European firms.
Ti podatki so v skladu s seznamom 50 najbolje prodajanih iger v Franciji leta 2006, ki ga je predložilo združenje ISFE. Med njimi so 21 iger izdala japonska podjetja, 19 ameriška in 10 evropska podjetja.
They are also borne out by the ranking of video game manufacturers by turnover, prepared by the European Audiovisual Observatory in 2003 and showing that the four market leaders are Japanese and US firms.
Podatke potrjuje tudi razvrstitev podjetij za proizvodnjo video iger glede na promet, ki jo je leta 2003 sestavil Evropski avdiovizualni observatorij in iz katere je razvidno, da so na prvih štirih mestih japonska in ameriška podjetja.
It should also be emphasised that a relatively small proportion of the video games manufactured in France will be subsidised: the simulation carried out for video games manufactured in France in 2005-2006 shows that only 30 % of them could, in theory, be eligible for the tax credit.
Poudariti je treba tudi, da se bo subvencioniral sorazmerno majhen odstotek video iger, izdelanih v Franciji: simulacija v zvezi z video igrami, izdelanimi v Franciji v obdobju 2005–2006, kaže, da je lahko načeloma le 30 % teh iger upravičenih do davčnega dobropisa.
The point should also be made that the associations of video game manufacturers that submitted comments following the initiation of the procedure, and these include TIGA, GAME, APOM and EGDF, also underscored the small impact of the measure on their national industries.
Razen tega je treba poudariti, da so tudi združenja proizvajalcev video iger, ki so po sprožitvi postopka sestavila pripombe, na primer TIGA, GAME, APOM in EGDF, poudarila šibek vpliv ukrepa na njihove nacionalne industrije.
For instance, EGDF, which represents 500 studios in 10 Member States, stressed in particular that, as notified, the measure will, by permitting 20 % financing of between 15 and 30 projects over two years, create only a small distortion as 1500 video games are marketed each year.
Tako je EGDF, ki predstavlja 500 studiev v desetih državah članicah, zlasti poudaril, da bo tako priglašeni ukrep, ki omogoča do 20-odstotno financiranje 15–30 projektov na dve leti, povzročil le manjše izkrivljanje, če se da na trg 1500 video iger na leto.
These comments are all the more significant in that they concerned the project described in the decision initiating the procedure and the scope of which has since been reduced.
Te pripombe so še pomembnejše, ker so bile sestavljene na podlagi projekta, opisanega v odločitvi o sprožitvi postopka, katerega področje uporabe se je pozneje omejilo.
The measure could have had a potentially negative effect on trade identified by GAME in that the subcontracting costs were not included in eligible costs in France’s initial proposal.
Kot ugotavlja GAME, bi lahko ukrep negativno vplival na trgovino, ker se v prvotnem predlogu Francije med upravičene stroške niso vključili stroški za podizvajanje.
This would have prompted the beneficiaries to internalise their costs instead of resorting to subcontracting, which is common in this sector.
To bi lahko upravičena podjetja spodbudilo k internalizaciji svojih stroškov, namesto uporabe podizvajanja, ki je v tem sektorju običajna praksa.
This could have been detrimental in particular to firms established in other Member States and thus to intra-Community trade.
To bi škodilo zlasti podjetjem s sedežem v drugih državah članicah in bi torej ogrozilo trgovino znotraj Skupnosti.
However, this negative effect is ruled out in so far as the French authorities have agreed to include subcontracting costs in eligible costs up to a limit of EUR 1 million per project.
Vendar je tak negativni vpliv onemogočen, ker so francoski organi sklenili, da izdatke za podizvajanje vključijo med upravičene stroške do zgornje meje 1 milijona EUR na projekt.
The Commission takes the view that this limit, which is justified for budgetary reasons, is acceptable in the case under review in so far as, in practice, it is not liable to affect most of the video games manufactured in France.
Komisija meni, da je ta meja, utemeljena s proračunskimi razlogi, v tem primeru sprejemljiva, če v praksi ne more vplivati na večino video iger, izdelanih v Franciji.