natgillin/translations-raw huggingface dataset:
The objective of protecting and promoting Europe's cultural diversity through audiovisual works can only be achieved if these works are seen by audiences.
Če država EGP lahko utemelji, da je potrebna večja podpora, se pomoč oceni na podlagi teh smernic kot pomoč za pospeševanje kulture v skladu s členom 61(3)(c) Sporazuma EGP.
Aid to production alone risks stimulating the supply of audiovisual content without ensuring that the resulting audiovisual work is properly distributed and promoted.
Pomoč za kinematografe pospešuje kulturo, saj je glavni namen kinematografov predvajanje kulturnih proizvodov – filmov.
It is therefore appropriate that aid may cover all aspects of film creation, from story concept to delivery to the audience.
Nekatere države EGP so razmišljale o podpori za avdiovizualne projekte, ki presegajo tradicionalni koncept filmske in televizijske produkcije.
Regarding aid to cinemas, usually the amounts involved are small, so that for example rural and arthouse cinemas should be sufficiently served by the levels of aid which fall under the de minimis Regulation [13].
Transmedijsko pripovedovanje zgodb (znano tudi kot pripovedovanje zgodb v različnih okoljih ali pripovedovanje zgodb s kombinacijo medijev) je tehnika pripovedovanja zgodb v različnih okoljih in v več formatih z uporabo digitalnih tehnologij, kot so filmi ali igre.
However, if an EEA State can justify that more support to cinemas is required, the aid will be assessed under the present Guidelines as aid to promote culture under Article 61(3)(c) of the EEA Agreement.
Pomembno je, da so te različne vsebine povezane [14].
Aid for cinemas promotes culture because the principal purpose of cinemas is the exhibition of the cultural product of film.
Ker so transmedijski projekti neizogibno povezani s produkcijo filma, se šteje, da je element filmske produkcije avdiovizualno delo v okviru obsega teh smernic.
Some EEA States considered support to audiovisual projects which go beyond the traditional concept of film and TV productions.
Nasprotno niso vse igre nujno avdiovizualna dela ali kulturni proizvodi, čeprav bodo igre morda v prihodnjih letih ena najhitreje rastočih oblik množičnih medijev.
Transmedia storytelling (also known as multi-platform storytelling or cross-media storytelling) is the technique of telling stories across multiple platforms and formats using digital technologies, like films and games.
Pri produkciji, distribuciji, trženju in potrošnji se razlikujejo od filmov.
Importantly, these pieces of content are linked together [14].
Zato se pravila, oblikovana za filmsko produkcijo, ne morejo samodejno uporabljati za igre.
Since transmedia projects are inevitably linked to the production of a film, the film production component is considered to be an audiovisual work within the scope of these Guidelines.
Poleg tega Komisija in Nadzorni organ v nasprotju s položajem v filmskem in televizijskem sektorju nimata kritične mase odločb in sklepov o državni pomoči za igre.
Conversely, although games may represent one of the fastest-growing form of mass media in the coming years, not all games necessarily qualify as audiovisual works or cultural products.
Te smernice posledično ne zajemajo pomoči, dodeljene igram.
They have other characteristics regarding production, distribution, marketing, and consumption than films.
Vsi ukrepi pomoči v podporo igram, ki ne bodo izpolnjevali pogojev Uredbe o splošnih skupinskih izjemah [15] ali Uredbe de minimis, se bodo še naprej obravnavali za vsak primer posebej.
Therefore, the rules designed for film production cannot apply automatically to games.
Vendar bo Nadzorni organ po analogiji uporabil merila intenzivnosti pomoči iz teh smernic, če bo dokazana nujnost sheme pomoči, namenjene igram s kulturnim ali izobraževalnim namenom.
Furthermore, contrary to the film and television sector, the Commission and the Authority do not have a critical mass of decisions on State aid to games.
KULTURNO MERILO
Consequently, these Guidelines do not cover aid granted to games.
Da bi bila pomoč za avdiovizualni sektor združljiva s členom 61(3)(c) Sporazuma EGP, mora pospeševati kulturo, pri čemer je opredelitev kulturnega proizvoda predvsem pristojnost držav EGP.
Any aid measures in support of games not meeting the conditions of the General Block Exemption Regulation (GBER) [15] or the de minimis Regulation will continue to be addressed on a case-by-case basis.
Nadzorni odbor priznava, da je njegova naloga pri ocenjevanju sheme podpore avdiovizualni produkciji omejena na preverjanje, ali ima država EGP vzpostavljen ustrezen in učinkovit mehanizem preverjanja za izogibanje očitnim napakam.
To the extent that the necessity of an aid scheme targeted at games which serve a cultural or educational purpose can be demonstrated, the Authority will apply the aid intensity criteria of these Guidelines by analogy.
To bi se zagotovilo bodisi s postopkom kulturnega izbora, da se ugotovi, katera avdiovizualna dela bi morala prejeti pomoč, bodisi z določitvijo kulturnega profila, ki mu morajo ustrezati vsa avdiovizualna dela, da bi lahko prejela pomoč.
CULTURAL CRITERION
V skladu s Konvencijo Unesca o zaščiti in spodbujanju raznolikosti kulturnega izražanja iz leta 2005 [16] Nadzorni organ ugotavlja, da dejstvo, da je film komercialen, še ne pomeni, da ni kulturen.
To be compatible with Article 61(3)(c) of the EEA Agreement, aid to the audiovisual sector needs to promote culture and the definition of a cultural product is primarily a responsibility of the EEA States.
V skladu z uveljavljeno sodno prakso Sodišča lahko tako promocija jezika države EGP [18] kot kulturna politika [19] pomenita nujen razlog v splošnem interesu, ki upravičuje omejitev svobode opravljanja storitev.
In line with the Unesco Convention on the Protection and Promotion of the Diversity of Cultural Expressions of 2005 [16], the Authority notes that the fact that a film is commercial does not prevent it from being cultural.
OBVEZNOSTI TERITORIALIZACIJE PORABE
Linguistic diversity is an important element of cultural diversity;
Obveznosti, ki jih filmskim producentom nalagajo organi, ki dodeljujejo pomoč, in v skladu s katerimi morajo producenti del proračuna za filmsko produkcijo porabiti na nekem ozemlju (t. i. obveznosti teritorializacije porabe), so v središču pozornosti že ves čas, odkar je Evropska komisija začela proučevati sheme podpore filmski industriji.
hence, defending and promoting the use of one or several of the languages of an EEA State also serves the promotion of culture [17].
Sporočilo o kinematografiji iz leta 2001 in Smernice Nadzornega organa iz leta 2008 so državam EGP omogočile, da lahko zahtevajo, da se do 80 % celotnega proračuna filma porabi na njihovem ozemlju.
According to the well-established case-law of the European Court of Justice, both the promotion of a language of an EEA State [18] and cultural policy [19] may constitute an overriding requirement relating to the general interest which justifies a restriction on the freedom to provide services.
Sheme, pri katerih se znesek pomoči določi kot odstotek izdatkov za produkcijske dejavnosti, izvedene v državi EGP, ki dodeli pomoč, že po svoji zasnovi poskušajo pritegniti kar največji del produkcijske dejavnosti v državo EGP, ki dodeli pomoč, in imajo že vgrajen element teritorializacije porabe.
Therefore, EEA States may require, as condition for the aid, inter alia, that the film is produced in a certain language, when it is established that this requirement is necessary and adequate to pursue a cultural objective in the audiovisual sector, which can also favour the freedom of expression of the different social, religious, philosophical or linguistic components which exist in a given region.
Te smernice morajo upoštevati te različne vrste shem pomoči, ki se zdaj uporabljajo.
The fact that such a criterion may constitute in practice an advantage for cinema production undertakings which work in the language covered by that criterion appears inherent to the objective pursued [20].
Obveznosti teritorializacije porabe pomenijo omejevanje notranjega trga za avdiovizualno produkcijo.
TERRITORIAL SPENDING OBLIGATIONS
Vendar ugotovitve študije kažejo, da so stroški filmske produkcije višji v tistih državah, ki uveljavljajo pogoje vezanosti na ozemlje, kot v tistih, ki jih ne.
Obligations imposed by the authorities granting the aid on film producers to spend a certain part of the film production budget in a particular territory (so called ‘territorial spending obligations’) have been subject to particular attention since the European Commission started looking into film support schemes.
Ugotovljeno je bilo še, da lahko pogoji vezanosti na ozemlje ovirajo koprodukcije in zmanjšujejo njihovo učinkovitost.
The 2001 Cinema Communication and the Authority's 2008 Guidelines allowed EEA States to require that up to 80 % of the entire film budget needed to be spent on their territory.
Na splošno študija kaže, da bolj omejujoče obveznosti teritorializacije porabe ne dajejo dovolj pozitivnih učinkov, da bi upravičevale ohranitev sedanje ravni omejitev.
Territorial spending obligations constitute a restriction of the internal market for audiovisual production.
ustrezati mora nujnim razlogom v splošnem interesu, biti mora primeren za uresničitev cilja, ki mu sledi, in ne sme prekoračiti okvirov, ki so potrebni za njegovo doseganje [22].
Therefore, the Commission commissioned an external study on territorial conditions imposed on audiovisual production which was completed in 2008 [21].
Posebne značilnosti filmske industrije, zlasti izjemna mobilnost produkcij, ter pospeševanje kulturne različnosti in nacionalne kulture in jezikov, so lahko nujen razlog v splošnem interesu, ki lahko upraviči omejitev uresničevanja temeljnih svoboščin.
As stated in the 2009 extension of the Cinema Communication, overall, the study was inconclusive:
Zato Nadzorni organ še naprej potrjuje, da so ti pogoji do določene mere lahko potrebni, da se ohrani kritična masa infrastrukture za filmsko produkcijo v državi EGP ali regiji, ki dodeli pomoč.
it could not judge whether or not the positive effects of territorial conditions outweighed the negative effects.
Številne regionalne sheme so vezane na znesek pomoči in določajo, da je treba 100 % ali 150 % tega zneska porabiti v državi EGP, ki dodeli pomoč, hkrati ne vsebujejo posebnih določb glede izvora storitev podizvajalcev ali izvora blaga, ki se uporablja pri produkciji.
However, the study found that the costs of film production seem to be higher in those countries which apply territorial conditions than in those which do not.
V nekaterih shemah pomoči lahko producent, ki prejme pomoč, porabi vsaj 20 % proračuna za produkcijo zunaj zadevne države EGP.
The study also found that territorial conditions may cause some obstacles to co-productions and may make them less efficient.
V nekaterih državah EGP je pomoč za filmsko produkcijo zasnovana le kot delež izdatkov, nastalih v državi članici, ki dodeli pomoč.
Overall, the study found that the more restrictive territorial spending obligations do not lead to sufficient positive effects to justify maintaining the current levels of restrictions.
Znesek izdatkov, ki je predmet obveznosti teritorializacije porabe, bi moral biti vsaj sorazmeren z zneskom dejanske finančne obveznosti države EGP, in ne s celotnim proračunom za produkcijo.
It also did not demonstrate the necessity of these conditions in view of the objectives pursued.
Pri pogoju vezanosti na ozemlje iz Sporočila iz leta 2001 [23] ali Smernic Nadzornega organa iz leta 2008 to ni bilo nujno res.
it has to pursue an overriding reason of general interest, it has to be suitable for securing the attainment of the objective which it pursues and must not go beyond what is necessary in order to attain it [22].
pomoč, dodeljena v obliki neposrednih nepovratnih sredstev (npr. dodeli žirija za izbor filmov), opredeljena na primer kot delež proračuna za produkcijo, in
The specific characteristics of the film industry, in particular the extreme mobility of productions, and the promotion of cultural diversity and national culture and languages, may constitute an overriding requirement of general interest capable of justifying a restriction on the exercise of the fundamental freedoms.
pomoč, dodeljena in opredeljena kot delež izdatkov za produkcijo v državi EGP, ki dodeli pomoč (npr. davčne spodbude).
Therefore, the Authority continues to acknowledge that, to a certain extent, such conditions may be necessary to maintain a critical mass of infrastructure for film production in the EEA State or region granting the aid.
V točki 48 je za vsak mehanizem določeno, v okviru kakšnih omejitev lahko Nadzorni organ sprejme, da država EGP določi obveznosti teritorializacije porabe, ki bi se glede na kulturni cilj lahko še vedno štele za potrebne in sorazmerne.
Hardly any EEA States impose territorial spending obligations up to the ceiling of 80 % of the production budget allowed by the 2001 Communication and the Authority's 2008 Guidelines.
V primeru pomoči, dodeljene v obliki nepovratnih sredstev, bi morala biti najvišja obveznost teritorializacije porabe omejena na 160 % zneska pomoči.
Several EEA States do not have territorial spending obligations at all in their schemes.
To ustreza prejšnjemu pravilu „80 % proračuna za produkcijo“, po katerem intenzivnost pomoči doseže splošno najvišjo raven, navedeno v točki 51(2), tj. 50 % proračuna za produkcijo [24].
Many regional schemes are linked to the aid amount and require that 100 % or 150 % of this amount must or should be spent in the granting EEA State, without being specific on the origin of the subcontracted services or the origin of goods used in the production.
Kadar je pomoč dodeljena v obliki deleža izdatkov za produkcijo v državi EGP, ki dodeli pomoč, je spodbuda v tem, da se več porabi v zadevni državi EGP in se tako prejme večja pomoč.
In some schemes, the producer receiving the aid is free to spend at least 20 % of the production budget outside that EEA State.
Omejevanje upravičene produkcijske dejavnosti na dejavnost, ki poteka v državi EGP, ki dodeli pomoč, pomeni ozemeljsko omejitev.
Certain EEA States design the film aid as a percentage of just the local expenditure.
Da bi bila zgornja meja primerljiva z zgornjo mejo za nepovratna sredstva, so izdatki, ki so predmet obveznosti teritorializacije porabe, omejeni na 80 % proračuna za produkcijo.
The amount of expenditure which is subject to territorial spending obligations should at least be proportionate to the actual financial commitment of an EEA State and not with the overall production budget.
Poleg tega lahko vsaka shema v okviru obeh mehanizmov vključuje merilo za upravičenost, ki določa najmanjšo zahtevano raven produkcijske dejavnosti na ozemlju države EGP, ki dodeli pomoč.
This was not necessarily the case with the territorial criterion of the 2001 Communication [23] or the Authority's 2008 Guidelines.
Ta raven ne sme preseči 50 % proračuna za produkcijo.
There are essentially two, distinct aid mechanisms applied by EEA States awarding aid for film production:
V vsakem primeru države EGP niso obvezane, da naložijo obveznosti teritorializacije porabe.
aid awarded — e.g. by a selection panel — as direct grants, e.g. defined as a percentage of the production budget, and
KONKURENCA ZA PRIVABLJANJE VEČJIH TUJIH PRODUKCIJ
aid awarded and defined as a proportion of the production expenditure in the granting EEA State (e.g. a tax incentive).
Od leta 2001 je več držav EGP uvedlo sheme, namenjene privabljanju visokoproračunskih produkcij v Evropo, ki konkurira drugim lokacijam in objektom po svetu, na primer v Združenih državah Amerike, Kanadi, na Novi Zelandiji ali v Avstraliji.
Paragraph 48 sets the limits for each mechanism within which the Authority can accept that an EEA State is applying territorial spending obligations which could be still considered as necessary and proportionate to a cultural objective.
Udeleženci javnih posvetovanj, opravljenih pred pripravo novega sporočila Komisije, so se strinjali, da so bile te produkcije potrebne za ohranitev visokokakovostne avdiovizualne infrastrukture, za pomoč pri uporabi visokokakovostnih studiev, opreme in osebja ter pomoč pri prenosu tehnologije, strokovnega znanja in izkušenj.
In the case of aid awarded as grants, the maximum territorial spending obligation should be limited to 160 % of the aid amount.
Tudi če bi tuje produkcije delno uporabile objekte, bi to pomagalo pri zagotavljanju zmogljivosti za izdelavo visokokakovostnih in odmevnih evropskih produkcij.
This corresponds to the previous ‘80 % of the production budget’ rule when the aid intensity reaches the general maximum stated in paragraph 51(2) namely 50 % of the production budget [24].
Glede možnega vpliva na evropski avdiovizualni sektor ima lahko tuja produkcija trajni učinek, saj po navadi veliko uporablja lokalno infrastrukturo in najame lokalne igralce.
In the case of aid awarded as a percentage of the expenditure on production activity in the granting EEA State, there is an incentive to spend more in the EEA State to receive more aid.
Na splošno lahko to pozitivno vpliva na nacionalni avdiovizualni sektor.
Limiting the eligible production activity to that which takes place in the EEA State granting the aid is a territorial restriction.
Treba je še omeniti, da so številni filmi, ki se obravnavajo kot večji projekti tretjih držav, dejansko koprodukcije, v katere so vključeni tudi evropski producenti.
Consequently, to establish a limit which is comparable to the limit for grants, the maximum expenditure subject to territorial spending obligations is 80 % of the production budget.
Zato bi te subvencije prispevale tudi k spodbujanju evropskih avdiovizualnih del in podpori objektov za nacionalne produkcije.
In addition, under either mechanism, any scheme may have an eligibility criterion requiring a minimum level of production activity in the territory of the granting EEA State.
Nadzorni organ zato meni, da je taka pomoč načeloma lahko združljiva s členom 61(3)(c) Sporazuma EGP kot pomoč za pospeševanje kulture pod enakimi pogoji kot pomoč za evropsko produkcijo.
This level shall not exceed 50 % of the production budget.
Ker so zneski pomoči za velike mednarodne produkcije lahko zelo visoki, bo Nadzorni organ spremljal nadaljnji razvoj te vrste pomoči, da bi zagotovil, da konkurenca poteka predvsem na podlagi kakovosti in cene, in ne na podlagi državne pomoči.
In any case, EEA States are under no obligation to impose territorial spending obligations.
ČEZMEJNE PRODUKCIJE
COMPETITION TO ATTRACT MAJOR FOREIGN PRODUCTIONS
Malo evropskih filmov se distribuira zunaj ozemlja produkcije.
Since 2001, several EEA States have introduced schemes with the objective to attract high profile productions to Europe, in global competition with the locations and facilities elsewhere, such as in the United States, Canada, New Zealand, or Australia.
Verjetnost, da bo evropski film predvajan v več državah EGP, je večja pri koprodukcijah, pri katerih sodelujejo producenti iz več držav.
Contributors to the public consultations preceding the new Commission Communication agreed that these productions were necessary to maintain a high quality audiovisual infrastructure, to contribute to the employment of high class studio facilities, equipment and staff, and to contribute to transfer of technology, know-how and expertise.
Glede na pomen sodelovanja producentov iz več držav EGP pri produkciji evropskih del, ki so na ogled v več državah EGP, Nadzorni organ meni, da je večja intenzivnost pomoči za koprodukcije, ki jih financira več kot ena država EGP in v katerih sodelujejo producenti iz več kot ene države EGP, upravičena.
The partial employment of facilities by foreign productions would also help to have the capacities to realise high quality and high profile European productions.
FILMSKA DEDIŠČINA
Regarding the possible effect on the European audiovisual sector, foreign production may have a lasting impact as it usually makes wide use of this local infrastructure and of local cast.
Nadzorni organ meni, da je treba filme zbrati, hraniti in poskrbeti, da so dostopni prihodnjim generacijam v kulturne in izobraževalne namene.
Overall, this may thus have a positive effect on the national audiovisual sector.
Svet za izobraževanje, mladino, kulturo in šport je v svojih sklepih o evropski filmski dediščini z dne 18. novembra 2010 [25] pozval države članice EU, naj poskrbijo, da se filmi, ki so prejeli državno pomoč, deponirajo pri ustanovi za filmsko dediščino [26], po možnosti skupaj z vsem pripadajočim materialom in ustreznimi pravicami v zvezi z ohranjanjem ter uporabo filmov in pripadajočega materiala v kulturne in nekomercialne namene.
It should also be noted that many of the films which are considered to be major third country projects are in fact co-productions involving also European producers.
Nekatere države članice EU so uvedle prakso, da izplačajo zadnji obrok pomoči po tem, ko ustanova za filmsko dediščino potrdi, da je bil film, ki je prejel pomoč, deponiran.
Thereby these subsidies would contribute also to the promotion of European audiovisual works and to sustaining facilities for national productions.
Ta praksa se je izkazala za učinkovit instrument za zagotovitev izpolnjevanja pogodbenih obveznosti glede deponiranja.
Therefore, the Authority considers that such aid may in principle be compatible with Article 61(3)(c) of the EEA Agreement as aid to promote culture under the same conditions as aid for European production.
Nekatere države članice EU so v svojih sporazumih o dodelitvi nepovratnih sredstev uvedle tudi določbe, ki ustanovam za filmsko dediščino po dogovorjenem obdobju in pod pogojem, da to ne ovira običajne uporabe filma, dovoljujejo uporabo javno financiranih filmov za določene namene pri opravljanju njihovega poslanstva javnega interesa.
However, as the amounts of aid for major international productions can be very high, the Authority will monitor the further development of this type of aid to ensure that competition takes place primarily on the basis of quality and price, rather than on the basis of State aid.
Nadzorni organ meni, da bi morale države EGP producente spodbujati in podpirati, da kopijo filma, ki je prejel pomoč, deponirajo pri ustanovi za filmsko dediščino, ki jo organ financiranja določi za hrambo in uporabo v posebne nekomercialne namene, o kateri se dogovori z imetniki pravic v skladu s pravicami intelektualne lastnine in brez poseganja v pošteno nadomestilo za imetnike pravic po dogovorjenem obdobju, določenem v sporazumu o dodelitvi nepovratnih sredstev, pod pogojem, da to ne posega v običajno uporabo filma.
CROSS-BORDER PRODUCTIONS
OCENJEVANJE ZDRUŽLJIVOSTI POMOČI
Few European films are distributed outside their production territories.
Nadzorni organ pri oceni pomoči za filmsko produkcijo in produkcijo drugih avdiovizualnih del preverja na podlagi zgoraj navedenih vidikov:
The likelihood that a European film is released in several EEA States is higher in the case of co-productions involving producers from several countries.
prvič, ali shema pomoči spoštuje načelo „splošne zakonitosti“, tj. Nadzorni organ mora preveriti, ali shema ne vsebuje klavzul, ki bi bile v nasprotju z določbami Sporazuma EGP na področjih, ki niso državne pomoči,
In view of the importance of cooperation of producers from different EEA States for the production of European works which are seen across several EEA States, the Authority considers that a higher aid intensity is justified for co-productions funded by more than one EEA State and involving producers from more than one EEA State.
drugič, ali shema izpolnjuje posebna merila o združljivosti za pomoč, določena spodaj.
FILM HERITAGE
SPLOŠNA ZAKONITOST
The Authority is of the view that films should be collected, preserved and accessible for future generations for cultural and educational purposes.
Nadzorni organ mora najprej preveriti, ali pomoč upošteva „splošno načelo zakonitosti“ ter ali pogoji za upravičenost in merila za dodelitev ne vsebujejo določb, ki so v nasprotju s Sporazumom EGP na področjih, ki niso državna pomoč.