natgillin/translations-raw huggingface dataset:
Commission Regulation (EC) No 1628/2006 of 24 October 2006 on the application of Articles 87 and 88 of the Treaty to national regional investment aid, OJ L 302, of 1 November 2006, p. 29, as referred to at point 1i of Annex XV to the EEA Agreement, OJ L 89 of 29 March 2007, p. 33 and EEA Supplement No 15 of 29 March 2007, p. 26, entry into force on 9 December 2006 and Commission Regulation (EC) No 800/2008 of 6 August 2008 declaring certain categories of aid compatible with the common market in application of Articles 87 and 88 of the Treaty (General block exemption Regulation), OJ L 214, 9.8.2008, p. 3, as referred to at point 1j of Annex XV to the EEA Agreement, entry into force on 8 November 2008.
Uredba Komisije (ES) št. 1628/2006 z dne 24. oktobra 2006 o uporabi členov 87 in 88 Pogodbe pri državni regionalni pomoči za naložbe, UL L 302, 1.11.2006, str. 29. kot se nanjo sklicuje točka 1i Priloge XV k Sporazumu EGP, UL L 89, 29.3.2007, str. 33 in Dopolnilo EGP št. 15, 29.3.2007, str. 26. začetek veljavnosti 9. decembra 2006, in Uredba Komisije (ES) št. 800/2008 z dne 6. avgusta 2008 o razglasitvi nekaterih vrst pomoči za združljive s skupnim trgom z uporabo členov 87 in 88 Pogodbe (Uredba o splošnih skupinskih izjemah), UL L 214, 9.8.2008, str. 3. kot se nanjo sklicuje točka 1j Priloge XV k Sporazumu EGP. Začetek veljavnosti 8. novembra 2008.
STATE AID TO CINEMATOGRAPHIC AND OTHER AUDIOVISUAL WORKS
DRŽAVNA POMOČ ZA KINEMATOGRAFSKA IN DRUGA AVDIOVIZUALNA DELA
Audiovisual works, and cinema in particular, play an important role in shaping European identities, both in common aspects shared across Europe and in the cultural diversity that characterises our different traditions and histories.
Avdiovizualna dela, zlasti kinematografska, imajo pomembno vlogo pri oblikovanju evropskih identitet, tako v smislu skupnih značilnosti po vsej Evropi in v smislu kulturne raznolikosti, ki je značilna za naše tradicije in zgodovine.
They are an essential element for the good functioning of our democracies because of their widespread influence on society.
Zaradi njihovega razširjenega vpliva na družbo so bistvena prvina, ki je potrebna za dobro delovanje naših demokracij.
They are also at the heart of the transformations resulting from the development of the information society: new technological developments offer new opportunities for promoting culture and heritage conservation, and to increase mutual understanding across Europe.
So tudi v središču preobrazb, ki izhajajo iz razvoja v informacijski družbi: nov tehnološki razvoj ponuja nove možnosti za spodbujanje kulture in ohranjanja kulturne dediščine ter za povečanje medsebojnega razumevanja po Evropi.
Audiovisual works have unique characteristics because of their double nature: they are economic goods, offering important opportunities for the creation of wealth and employment.
Zaradi svoje dvojne narave imajo avdiovizualna dela edinstvene značilnosti: so gospodarske dobrine, ki ponujajo pomembne priložnosti za ustvarjanje bogastva in zaposlitev.
They are also cultural goods which at the same time mirror and shape our societies.
So tudi kulturne dobrine, ki hkrati odražajo in oblikujejo naše družbe.
This is the reason why the development of this sector has never been left solely to market forces.
Zato razvoj v tem sektorju ni bil nikoli prepuščen izključno tržnim silam.
Amongst audiovisual works, cinematographic works have a particular prominence, because of their cost of production and cultural importance: budgets for the productions of cinema films are substantially higher than for other audiovisual content, they are more frequently the subject of international co-productions, and the duration of their exploitation life is longer, with the potential to use all distribution channels, cinemas, DVDs and videocassettes (both selling and rental), Internet downloading, and television (pay-per-view, pay-per-channel, free-to-air).
Zaradi stroškov produkcije in kulturnega pomena so kinematografska dela med avdiovizualnimi deli še posebej poudarjena: proračuni za produkcijo kinematografskih filmov so občutno višji kot pri drugih avdiovizualnih vsebinah, pogosteje so rezultat mednarodne koprodukcije in trajanje njihovega izkoriščanja je daljše, ob tem pa obstaja možnost, da se uporabijo vsi distribucijski kanali, kinodvorane, DVD-ji in videokasete (prodaja in izposoja), prenos iz interneta in televizija (pay-per-view, pay-per-channel, free-to-air).
Cinematographic works face strong competition from outside Europe [1].
Kinematografska dela se srečujejo z močno konkurenco iz držav izven Evrope [1].
These Guidelines set out the principles to be applied for the application of State aid rules to the cinema sector and for TV production.
Te smernice določajo načela, ki se uporabljajo za pravila o državnih pomočeh za kinematografski sektor in TV produkcijo.
They are based on Chapter 2 of the European Commission’s Communication on certain legal aspects relating to cinematographic and other audiovisual works [2].
Temeljijo na poglavju 2 Sporočila Evropske komisije o nekaterih pravnih vidikih v zvezi s kinematografskimi in drugimi avdiovizualnimi deli [2].
Chapter 2 sets out the general orientation of the European Commission with regard to state aid in the cinema sector.
Poglavje 2 določa splošne usmeritve Evropske komisije v zvezi z državnimi pomočmi za kinematografski sektor.
GENERAL ORIENTATION WITH REGARD TO STATE AID TO THE CINEMA SECTOR
SPLOŠNE USMERITVE V ZVEZI Z DRŽAVNIMI POMOČMI ZA KINEMATOGRAFSKI SEKTOR
Cinema and TV programmes are two of the most universal media of entertainment, with a powerful impact on a great number of people internationally.
Kino in TV programi sta dva izmed najbolj univerzalnih medijev za zabavo, z močnim vplivom na veliko število ljudi na mednarodni ravni.
The current stage of development and the special characteristics of audiovisual production within the European Economic Area, mean that it is difficult for producers to obtain a sufficient level of upfront commercial backing to put together a financial package so that production projects can proceed.
Zaradi trenutne stopnje razvoja in posebnih značilnosti avdiovizualnih produkcij v Evropskem gospodarskem prostoru producenti težko pridobijo zadostno vnaprejšnjo komercialno podpora, da bi lahko sestavili finančni paket, potreben za nadaljevanje produkcijskih projektov.
In these circumstances, the fostering of audiovisual production by the EEA States plays a key role to ensure that their indigenous culture and creative capacity can be expressed, thereby reflecting the diversity and richness of European culture.
V teh okoliščinah je pospeševanje avdiovizualne produkcije s strani držav EGP ključno pri zagotavljanju, da se njihova avtohtona kultura in ustvarjalna sposobnost lahko izrazijo, kar odraža raznolikost in bogastvo evropske kulture.
In the Community pillar, the Maastricht Treaty gave Community-level recognition to the utmost importance of promoting culture for the European Union and its Member States by incorporating culture amongst the Community’s policies specifically referred to in the EC Treaty (see Article 151 EC).
V prvem stebru ES se je z Maastrichtsko pogodbo na ravni Skupnosti priznal izredni pomen spodbujanja kulture za Evropsko unijo in njene države članice, tako da se kultura vključi med politike Skupnosti, navedene v Pogodbi ES (glej člen 151 Pogodbe).
At the same time, it included in Article 87(3)(d) EC a new specific possibility of exception to the general incompatibility principle of Article 87(1) EC for aid granted by the Member States to promote culture.
Hkrati je v člen 87(3)(d) Pogodbe ES vključena nova posebna možnost za izjemo od splošnega načela nezdružljivosti iz člena 87(1) Pogodbe ES za pomoč, ki jo države članice dodelijo za spodbujanje kulture.
The EEA Agreement also recognises the need for strengthening cultural cooperation in Article 13 of Protocol 31.
V členu 13 Protokola 31 k Sporazumu EGP se prav tako priznava potreba po krepitvi sodelovanja v kulturi.
The EEA Agreement does not contain a ‘cultural exemption’ similar to Article 87(3)(d) EC.
Sporazum EGP ne vsebuje „kulturne izjeme“, podobne členu 87(3)(d) Pogodbe ES.
Nevertheless, the Authority considers that, in line with its constant practice [3], film and TV production support measures may be approved on cultural grounds on the basis of Article 61(3)(c) of the EEA Agreement.
Nadzorni organ pa meni, da se v skladu z njegovo stalno prakso [3] lahko ukrepi za podporo filmski in TV produkciji lahko odobrijo iz razlogov, povezanih s kulturo, na podlagi člena 61(3)(c) Sporazuma EGP.
In its assessment, the Authority will apply the same criteria as those applied by the European Commission for the purposes of Article 87(3)(d) EC.
V svoji oceni bo Nadzorni organ bo uporabljal merila, ki so enaka merilom, ki jih uporablja Evropska komisija za namene člena 87(3)(d) Pogodbe ES.
The EEA States implement a wide range of support measures for the audiovisual production of films and TV programmes.
Države Efte izvajajo širok nabor ukrepov za podporo avdiovizualni produkciji filmov in TV programov.
This support focuses on the creation and production phases of film-making and generally takes the form of subsidies or repayable advances.
Ta podpora se osredotoča na fazi zasnove in produkcije pri snemanju filmov in na splošno je v obliki subvencij ali vračljivih predplačil.
The rationale behind these measures is based on both cultural and industrial considerations.
Smiselnost teh ukrepov temelji na kulturnih in industrijskih vidikih.
They have the primary cultural aim of ensuring that the national and regional cultures and creative potential are expressed in the audiovisual media of film and television.
Njihov glavni kulturni cilj je zagotoviti, da se nacionalne in regionalne kulture ter ustvarjalni potencial izrazijo v avdiovizualnih medijih – filmu in televiziji.
On the other hand, they aim to generate the critical mass of activity that is required to create the dynamic for the development and consolidation of the industry through the creation of soundly-based production undertakings and the development of a permanent pool of human skills and experience.
Na drugi strani pa je njihov cilj, da se ustvari kritična masa za dejavnost, ki je potrebna za ustvarjanje dinamike za razvoj in konsolidacijo te gospodarske panoge z ustvarjanjem trdnih produkcijskih družb in razvojem stalnega vira človeškega znanja in izkušenj.
These Guidelines do not cover the application of Articles 53 and 54 of the EEA Agreement (anti-competitive practices by companies) to the audiovisual sector [4].
Te smernice ne zajemajo uporabe členov 53 in 54 Sporazuma EGP (protikonkurenčne prakse podjetij) za avdiovizualni sektor [4].
Compatibility with the EEA Agreement of schemes of aid to cinema and TV production
Združljivost s Sporazumom EGP za sheme pomoči za kinematografsko in televizijsko produkcijo
The basic rules on State aid under the EEA Agreement are as follows: Article 1(3) in Part I of Protocol 3, to the Surveillance and Court Agreement provides that the EFTA States [5] are obliged to inform the Authority of any plans to grant or alter aid before putting it into effect.
Temeljna pravila o državni pomoči po Sporazumu EGP so naslednja: člen 1(3) dela I Protokola 3 k Sporazumu o nadzornem organu in sodišču določa, da morajo države Efte [5] obvestiti Nadzorni organ o vseh načrtih za dodelitev ali spremembo pomoči, preden ta začne veljati.
Article 61(1) of the EEA Agreement prohibits aid granted by the State or through State resources, which distorts or threatens to distort competition and trade between the EEA States.
Člen 61(1) Sporazuma EGP prepoveduje pomoči, ki jo dodeli država ali se dodeli prek državnih sredstev, ki izkrivljajo ali bi lahko izkrivljale konkurenco in trgovino med državami EGP.
However, the Authority may exempt certain State aid from this prohibition.
Vendar pa Nadzorni organ lahko nekatere državne pomoči oprosti te prepovedi.
In particular, Article 61(3) of the EEA Agreement lists certain aid types that. in view of their effects, the Authority may authorise.
Zlasti v členu 61(3) Sporazuma EGP so navedene določene vrste pomoči, ki Nadzorni organ lahko odobri zaradi njihovih učinkov.
One of these exemptions is Article 61(3)(c) of the EEA Agreement for aid to facilitate the development of certain economic activities where such aid does not affect competition and trading conditions to an extent contrary to the common interest.
Ena od teh izjem je v členu 61(3)(d) Sporazuma EGP glede pomoči za lažji razvoj določenih gospodarskih dejavnosti aktivnosti, kadar taka pomoč ne vpliva na pogoje konkurence in trgovanja, tako da bi bilo to v nasprotju s skupnim interesom.
In its case practice the Authority has, on the basis of that provision, authorised support to TV and cinema production for the purpose of promoting culture, taking into account the criteria developed by the European Commission.
V svoji praksi je Nadzorni organ na podlagi te določbe že odobril pomoč za TV in kinematografsko produkcijo, namenjeno spodbujanju kulture, pri tem pa je upošteval merila, ki jih je oblikovala Evropska komisija.
Assessment of aid schemes to cinema and TV production
Ocena shem pomoči za kinematografsko in TV produkcijo
When it assesses aid schemes to cinema and TV production, the Authority must verify:
Pri ocenjevanju sheme pomoči za kinematografsko in TV produkcijo mora Nadzorni organ preveriti:
first, whether the aid scheme respects the ‘general legality’ principle, i.e. the Authority must verify that the scheme does not contain clauses that would be contrary to provisions of the EEA Agreement in fields other than State aid;
prvič, ali shema pomoči spoštuje načelo „splošne zakonitosti“, tj. Nadzorni organ mora preveriti, da shema ne vsebuje klavzul, ki bi bile v nasprotju z določbami Sporazuma EGP na področjih, ki niso državne pomoči;
secondly, whether the scheme fulfils the specific compatibility criteria for aid, set out by the European Commission in its Communication and explained below [6].
drugič, ali shema izpolnjuje posebna merila o združljivosti pomoči, ki jih je Evropska komisija določila v svojem sporočilu in so razložena v nadaljevanju [6].
The second condition is specific to cinema and TV production aid schemes, whereas the other is a routine test applied to all aid schemes irrespective of the sector.
Drugi pogoj je specifičen za sheme pomoči kinematografski in TV proizvodnji, drugi pa je rutinski preskus, ki se ne glede na sektor uporablja za vse sheme pomoči.
Respect of the general legality criterion
Spoštovanje merila splošne zakonitosti
The Authority must verify that the eligibility conditions of the State aid schemes do not contain clauses contrary to the EEA Agreement in fields other than State aid.
Nadzorni organ mora preveriti, da pogoji za upravičenost iz shem državne pomoči ne vsebujejo klavzul, ki so v nasprotju z določbami Sporazuma EGP na področjih, ki niso državna pomoč.
The Authority must ensure, inter alia, that the principles prohibiting discrimination on the grounds of nationality, freedom of establishment, free movement of goods and freedom to provide services have been respected (Articles 4, 11, 13, 28, 31, 34 and 36 of the EEA Agreement).
Nadzorni organ mora med drugim zagotoviti spoštovanje načel o prepovedi diskriminacije na podlagi državljanstva, svobode ustanavljanja, prostega pretoka blaga in svobodo opravljanja storitev, so bile upoštevane (členi 4, 11, 13, 28, 31, 34 in 36 Sporazuma EGP).
The Authority enforces these principles in conjunction with the application of competition rules when the provisions in breach of these principles are not detachable from the operation of the scheme.
Nadzorni organ izvršuje ta načela v povezavi z uporabo pravil o konkurenci, če določbe, ki so v nasprotju s temi načeli, niso ločljive od delovanja sheme.
In compliance with the above principles, aid schemes must not: e.g. reserve the aid for nationals exclusively; require beneficiaries to have the status of national undertaking established under national commercial law (undertakings established in one of the EEA States and operating in another by means of a permanent branch or agency must be eligible for aid; furthermore, the agency requirement should only be enforceable upon payment of the aid); require workers of foreign companies providing film-making services to comply with national labour standards.
V skladu z navedenimi načeli sheme pomoči ne smejo: na primer rezervirati pomoč izključno za državljane; zahtevati, da upravičenci imajo status nacionalnih podjetij, ustanovljenih po nacionalnem trgovinskem pravu (podjetja s sedežem v eni državi EGP, ki delujejo v drugi prek stalne podružnice ali agencije, morajo biti upravičene do pomoči; poleg tega mora biti pogoj glede agencije izvršljiv le ob plačilu pomoči); zahtevati, da delavci tujih podjetij, ki opravljajo filmske storitve, spoštujejo nacionalne standarde dela.
Certain schemes of aid to cinema and TV production are financed by parafiscal charges.
Nekatere sheme pomoči za kinematografsko in TV produkcijo se financirajo z davkom podobnimi dajatvami.
In line with the European Commission’s decision practice and the European Court of Justice’s case law, the Authority’s practice is that when such schemes benefit solely national producers or do so to a higher extent than to competitors located in another EEA State, in order to be compatible with the EEA Agreement, imported products may not be levied and national production may not enjoy a lower rate of taxation when exported.
Glede na prakso sprejemanja odločitev Evropske komisije in sodno prakso Sodišča Evropskih skupnosti je praksa Nadzornega organa taka, da se zagotovitev njihove združljivosti s Sporazumom EGP pri takih shemah dajatev, ki so izključno v korist nacionalnih proizvajalcev ali jim prinašajo večjo korist kot konkurentom iz druge države EGP, za uvožene izdelke ne pobirajo dajatve in nacionalna proizvodnja ob izvozu ne sme uživati nižje stopnje obdavčitve.
The specific compatibility criteria for State aid to cinema and TV programme production
Posebna merila združljivosti za državne pomoči za kinematografijo in produkcijo TV programov
The specific criteria on which basis the European Commission currently assesses State aid to cinema and TV programme production under the culture derogation of Article 87(3)(d) EC were established in its decision of June 1998 on the French automatic aid scheme to film production.
Posebna merila, na podlagi katerih Evropska komisija trenutno ocenjuje državne pomoči za kinematografijo in produkcijo TV programov na podlagi odstopanja za kulturo od člena 87(3)(d) Pogodbe ES, so bila določena v njeni odločbi iz junija 1998 o francoski samodejni shemi pomoči za filmsko produkcijo.
These specific criteria, which the Authority will apply in its analysis of similar cases under Article 61(3)(c) of the EEA Agreement, are:
Ta posebna merila, ki jih Nadzorni organ uporablja pri analizi podobnih primerov na podlagi člena 61(3)(c) Sporazuma EGP, so naslednja:
The aid is directed to a cultural product.
Pomoč je namenjena kulturnem proizvodu.
Each EFTA State must ensure that the content of the aided production is cultural according to verifiable national criteria.
Vsaka država Efte mora zagotoviti, da je s pomočjo podprta vsebina je kulturnega značaja v skladu s preverljivimi nacionalnimi meril.
The producer must be free to spend at least 20 % of the film budget in other EEA States without suffering any reduction in the aid provided for under the scheme.
Producentu mora biti omogočeno, da vsaj 20 % filmskega proračuna porabi v drugih državah EGP, ne da bi se zato kakor koli znižal znesek pomoči v okviru sheme.
In other words, the Authority accepted as an eligibility criteria territorialisation in terms of expenditure of up to 80 % of the production budget of an aided film or TV work.
Z drugimi besedami, kot merilo upravičenosti teritorializacije v zvezi z izdatki je Nadzorni organ sprejel znesek, ki lahko doseže 80 % proračuna produkcije za film ali TV delo.
Aid intensity must in principle be limited to 50 % of the production budget with a view to stimulating normal commercial initiatives inherent in a market economy and avoiding a bidding contest between the EEA States.
Intenzivnost pomoči mora biti načeloma omejena na 50 % proizvodnje proračuna zaradi spodbujanja običajnih komercialnih pobud, ki izhajajo iz tržne ekonomije, in zaradi izogibanja tekmovanju v ponudbah med državami EGP.
Difficult and low budget films are excluded from this limit.
Težavni in nizkoproračunski filmi so izključeni iz te omejitve.
The Authority considers that it is up to each EFTA State to establish a definition of difficult and low budget film according to national parameters.
Nadzorni organ meni, da mora vsako državo Efte sama opredeliti težavne ali nizkoproračunske filme v skladu z nacionalnimi parametri.
Aid supplements for specific film-making activities (e.g. post-production) are not allowed in order to ensure that the aid has a neutral incentive effect and consequently that the protection/attraction of those specific activities in/to the EFTA State granting the aid is avoided.
Dopolnilna pomoč za posebne filmske dejavnosti (npr. postprodukcija) ni dovoljena, da bi se zagotovilo, da je spodbujevalni učinek pomoči nevtralen in da se izogne zaščiti navedenih posebnih dejavnosti v državi Efte, ki pomoč dodeljuje, ali njihovi pritegnitvi v zadevno državo.
Several considerations arise in respect of the above-mentioned criteria:
V zvezi z navedenimi merili so številni pomisleki:
The Authority considers that aid should be towards the overall budget of a specific film-making project and the producer should be free to choose the items of the budget that will be spent in other EEA States.
Nadzorni organ meni, da mora biti pomoč za splošni proračun posebnega projekta za snemanje filma, producent pa mora svobodno izbrati postavke proračuna, ki bodo porabljene v drugih državah EGP.
Undertakings in the film and TV programme production sector may also benefit from other aid types granted under national horizontal aid schemes authorised by the Authority under the Article 61(3)(a) and (c) of the EEA Agreement exemptions (e.g. regional aid, aid for SMEs, research and development aid, training aid, employment aid).
Podjetja v sektorju filmske in televizijske produkcije bi lahko imela koristi tudi od drugih vrst pomoči, dodeljenih v okviru nacionalnih horizontalnih shem pomoči, ki jo odobri Nadzorni organ na podlagi izjem iz člena 61(3)(a) in (c) Sporazuma EGP (npr. regionalna pomoč, pomoč za MSP, pomoč za raziskave in razvoj, pomoč za usposabljanje, pomoč za zaposlovanje).
The Authority accepts that EFTA States may require a certain part of the film production budget to be spent on their territory as an eligibility criterion for aid.
Nadzorni organ se je strinjala, da države Efte lahko zahtevajo, da je merilo za upravičenost do pomoči, da se določen del proračuna filmske produkcije porabi na njihovem ozemlju.
This is based on the reasoning that a certain degree of territorialisation of the expenditure may be necessary to ensure the continued presence of the human skills and technical expertise required for cultural creation.
To je temelji na obrazložitvi, da je določena stopnja teritorializacije izdatkov lahko potrebna za zagotovitev stalne prisotnosti človeškega znanja in strokovnega znanja, potrebnega za kulturno ustvarjanje.
This should be limited to the minimum degree required to promote cultural objectives.
To bi moralo biti omejeno na najmanjšo stopnjo, potrebno za spodbujanje kulturnih ciljev.
Furthermore, given the particular characteristics of film production, the Authority considers that the overall budget of an audiovisual production is the disbursement at risk necessary for its creation and, consequently, admits that the reference for aid calculation is that overall budget, regardless of the nature of the individual expenditure items of which it is formed.
Poleg tega Nadzorni organ glede na posebne značilnosti filmske produkcije meni, da je celotni proračun za avdiovizualno produkcijo izdatek z vključenim tveganjem, ki je potreben za njeno stvaritev, in posledično priznava, da je referenca za izračun pomoči zadevni celotni proračun, in sicer ne glede na značaj posameznih postavk odhodkov, iz katerih je nastal.