natgillin/translations-raw huggingface dataset:
V letu 2010 je bilo kinematografov z digitalnimi projektorji 8.682, skoraj dvakrat toliko kot v letu 2009, ko jih je bilo 4.129.
The number of cinemas with digital projectors in 2010 was 8,682 more than double of the 4,129 that existed in 2009.
Potencial evropske kinematografije se odraža tudi v produkciji filmov.
The potential of European cinema also translates to film production.
Leta 2010 so bili v Evropi narejeni 1.203 filmi, medtem ko jih je bilo v ZDA narejenih 754.
In 2010 there were 1,203 films made in Europe, compared with 754 in the United States.
Evropski kinematografi so prodali skoraj milijardo vstopnic, pri čemer je bil tržni delež evropskih filmov 27-odstoten.
European cinemas have sold nearly a billion tickets with European films accounting for 27 per cent of the market.
Vendar pa evropski kinematografski trg kljub svojemu potencialu še vedno ni povezan, distribucija filmov znotraj EU pa je težavna.
However, the European cinema market, with all its potential, is still not integrated and film distribution within the EU proves difficult.
Dostopnost kinematografov ni enakomerna: v zahodni Evropi znaša število oseb na platno 160.102, v srednji in vzhodni Evropi pa 40.750.
Accessibility to cinemas is uneven: there are 16,102 people per screen in the Western Europe compared with 40,750 in Central and Eastern Europe.
Z analogne tehnologije na digitalno
From analogue to digital technologies
V bližnji prihodnosti bo verjetno večina kinematografov morala preiti na digitalno tehnologijo, filmi pa ne bodo več na voljo na 35-milimetrskem traku.
It is to be expected that in the near future most cinemas will have to switch to digital technology and copies of films will not be available on 35mm tapes anymore.
V sedanjih razmerah imajo producenti in lastniki kinematografov višje stroške, saj se morajo prilagajati dvojnemu sistemu in predvajati tako analogne kot digitalne filme.
The current situation generates higher costs for the producers as well as the cinema owners who have to comply with a dual system: screening analogue as well as digital films.
Visoki stroški, ki dosegajo tudi 2.000 EUR so posledica izdatkov za izdelavo filmskega traku, obseg distribucije filmov pa je omejen, saj je treba za vsako jezikovno različico izdelati ločeno kopijo.
High costs, reaching up to €2,000, are incurred due to the expense of producing a celluloid tape, and the necessity of preparing a separate copy for every language version limits the scope of film distribution.
Stroški izdelave digitalnega izvoda so nižji in znašajo približno 200 EUR.
The costs of producing a digital copy are lower, at about €200.
Če ima kinematograf hitri širokopasovni dostop do interneta ali satelitsko povezavo, je prenos filma cenejši in hitrejši.
If the cinema has access to a high-speed internet broadband or a satellite connection the transmission of the film is cheaper and faster.
Ta način distribucije omogoča hkratno premierno predvajanje filmov v različnih jezikovnih različicah po vseh kinematografih.
This method of distribution allows for simultaneous film premieres in many language versions in all the cinemas.
To je lahko koristno za neodvisne in nizkoproračunske filme, ki imajo trenutno majhno distribucijo.
This method can favour independent and low-budget films which currently are not widely distributed.
Tako digitalna tehnologija in distribucija omogočata večje število premiernih predvajanj filma, enostavnejšo distribucijo in večjo razpoložljivost evropske kinematografije za državljane EU.
The result is that digital technology and distribution creates a chance for increased film premier screenings, simplified film distribution and higher availability of European cinema to EU citizens.
Opozoriti je treba na visoke stroške opremljanja kinematografov z digitalnimi projektorji, ki trenutno znašajo približno 100.000 EUR na platno.
It is necessary to highlight the high cost of equipping cinemas with digital projectors, currently costing approximately €100,000 per screen.
Obstaja nevarnost, da bodo kinematografi, ki se jim ne bo uspelo prilagoditi procesu digitalizacije, izrinjeni s trga in bodo prenehali delovati.
There is a danger that the cinemas, which do not comply with the digitisation process, will be forced out of the market and cease to operate.
To bi lahko omejilo dostop dela družbe do filmske kulture, prizadelo pa bi zlasti podeželje in manj razvita območja, kjer prevladujejo majhni, neodvisni kinematografi.
It may limit the access of parts of society to film culture, affecting in particular the rural and less developed areas, which are dominated by small and independent cinemas.
Njihovo zaprtje bi povzročilo težave pri popularizaciji kulture, pa tudi na področju zaposlovanja.
Their closure might cause difficulties in popularising culture as well as in the employment sector.
V procesu preoblikovanja evropske kinematografije je treba upoštevati nenehni tehnološki razvoj.
The continuous development of technology needs to be taken into account in the process of transforming European cinema.
Dolgoročno lahko to pomeni, da bo treba preiti na naslednjo, novejšo obliko.
In the long term it might mean the necessity of switching to the next, newer format.
Sedanji ločljivosti 2K in 4K gledalcem uspešno omogočata ogled tridimenzionalnih filmov.
The current 2K and 4K resolution successfully enables the public to view films in 3D.
Evropska produkcija tridimenzionalnih filmov ima velike možnosti za razvoj.
The European sector of 3D film production has a big chance for development.
Zato je treba kratkoročno standardizirati sisteme na evropski in mednarodni ravni, da bodo skladni s standardi ISO.
Therefore, in the short term, a standardisation of systems is required to comply with ISO norms at both European and international level.
Države članice bodo morale zaradi hitrega prehoda svojo nacionalno filmsko dediščino arhivirati na digitalnih medijih.
An expeditious transition will require the Member States to archive their national film heritage achievements on digital media.
Digitalni filmski arhivi bodo prihodnjim generacijam služili za raziskovanje, pa tudi v izobraževalne in znanstvene namene.
Digitised film archives will serve future generations for research as well as educational and scientific purposes.
Zato je treba podpirati kinematografe in filmske knjižnice, ki omogočajo ohranjanje evropske filmske dediščine.
It is therefore important to support the cinemas and the film libraries enabling the continuation of European film heritage.
Digitalna tehnologija na področju kulture in filma odpira razpravo o prihodnosti kronologije medijev.
Digital technologies in the area of culture and films open up a debate as to the future of media chronology.
Če sprejmemo popularizacijo in vse večjo dostopnost evropskega filma kot dejstvo, potem je treba ustvariti prožne modele, ki bodo omogočali uravnoteženo uporabo linearnih in nelinearnih platform ob spoštovanju avtorskih pravic.
If we accept popularisation and increased accessibility of European film as a determinant, then it is necessary to create flexible models which give a chance for a balanced usage of linear and non-linear platforms taking into consideration the protection of copyrights.
Programi v podporo evropski kinematografiji
Programs supporting European cinema
Akterji iz vseh držav članic, na nacionalni ravni in na ravni EU, v javnem in zasebnem sektorju, bi se morali združiti pri procesu preoblikovanja kinematografov iz analognih v digitalne.
Actors of all the Member States should unite in this process of transformation from analogue to digital cinema on a national as well EU level in the public and private sectors.
Evropski parlament bi moral s finančnim prispevkom biti pobudnik te spremembe vzorca.
The European Parliament should initiate this change of paradigm by making a financial input.
Pomembno je, da imajo različni načini financiranja digitalizacije kinematografov politično podporo.
It is important to support different ways of financing the digitisation of cinema on a political level.
Eden najpomembnejših instrumentov financiranja so strukturni skladi.
One of the most important instruments in financing it is structural funds.
Zato je treba ustrezno raven podpore vključiti v novo finančno perspektivo za obdobje 2014–2020.
Therefore, an appropriate level of support needs to be included in the new financial perspective 2014-2020.
Poudariti je treba, da je podpora iz Evropskega sklada za regionalni razvoj nekaterim kinematografom že omogočila, da so se lahko bolje spopadli z izzivi digitalizacije.
It needs to be highlighted that support from the European Regional Development Fund has already allowed some studio cinemas to better face the challenges of digitisation.
Kot primere je treba omeniti kinematografe v poljski regiji Malopolska, v nemški regiji Spodnja Saška, na območju srednje in severne Portugalske, pa tudi v regiji Alentejo.
By way of example cinemas in the Polish region of Małopolska, German Lower Saxony, Central and Northern Portugal as well as region of Alentejo should be mentioned.
Poudariti je treba, da je bil sistem financiranja pristojbina za virtualni film vzpostavljen, da bi olajšal prehod z analognega predvajanja na digitalno.
It is important to be reminded that VPF system of finance was created in order to facilitate the transition from analogue to digital screening.
Medtem ko je sistem pristojbina za virtualni film primeren za velike verige kinematografov in kinematografe z več platni, pa ni ustrezen za male in neodvisne kinematografe.
Whilst VPF is appropriate for big chain cinemas and multi-screens cinemas, it does not accommodate small and independent ones.
Hitre spremembe in pomanjkanje sredstev lahko vodijo do zaprtja malih kinematografov, ki jih ta sistem ne podpira in ki si ne morejo privoščiti stroškov nabave novih digitalnih projektorjev.
The speed of change and the lack of finance can lead to the closure of small cinemas not supported by VPF and which cannot afford the expense of purchasing new digital projectors.
V tem okviru je treba vzpostaviti mehanizme, ki bodo povezali distributerje in predvajalce, ter podpreti sodelovanje med malimi kinematografi z namenom znižanja stroškov za naložbe v digitalno opremo.
In this context it is postulated to implement mechanisms to integrate distributors and exhibitors and to support co-operation between small cinemas in order to lower the costs of investment in digital equipment.
Še en pomemben instrument je možnost preferencialnih posojil, ki jih Evropska investicijska banka nudi kinematografom, ki imajo premalo sredstev za proces digitalizacije.
Another significant instrument is the availability of preferential credit rates offered by the European Investment Bank to cinemas with insufficient funds for the digitisation process.
Poudariti je treba tudi pomen programa MEDIA, ki si že od svojega začetka pred dvajsetimi leti prizadeva za ugodne finančne pogoje za evropske distributerje in pomembno prispeva k razvoju in promociji evropskih filmov.
It is important to appreciate the significance of the MEDIA programme which, from its conception 20 years ago, has promoted favourable financial conditions for European distributors and considerably contributed to the development and promotion of European films.
V okviru programa MEDIA je treba sprožiti pobude za izboljšanje in spodbujanje prevodov, sinhronizacije, podnaslavljanja in nadnaslavljanja ter programov usposabljanja za predstavnike avdiovizualnega sektorja, da bodo lahko svoje strokovno znanje prilagodili digitalni tehnologiji.
New initiatives need to be taken up within MEDIA aimed at improving and promoting translation, dubbing, subtitling and surtitling as well as training programmes directed at the representatives of the audiovisual and film sectors in order to adapt their expertise to digital technologies.
V okviru finančne perspektive za obdobje 2014–2020 je treba revidirati programe Evropske unije, zlasti programa MEDIA in MEDIA MUNDUS.
In the framework of the 2014-2020 financial perspectives, the European Union’s programmes, especially MEDIA and MEDIA MUNDUS, must be reviewed.
Še naprej je treba spodbujati močno finančno podporo kinematografiji, pa tudi kulturi in izobraževanju nasploh.
Pressure must be kept on maintaining a strong financial support for cinema and, more widely, to culture and to education.
Kulturne vzgoje namreč ni mogoče ločiti od izobraževanja.
Indeed acculturation cannot be dissociated from education.
Filmska vzgoja naj bi javnosti zagotovila potrebno znanje o medijih ter jim omogočila boljše razumevanje in spoštovanje različnih vsebin, ki so na voljo.
Film education should equip the public with the requisite media skills and giving them a better understanding and appreciation of the different content available.
Državljani so s tem, ko se v okviru izobraževanja naučijo „brati podobo“, bolj razgledani, izoblikuje se njihovo dojemanje in razmišljanje ter se razvija njihova domišljija in tako lažje usvojijo jezik filma.
Teaching citizens how to “read an image” as an integral element of education broadens the knowledge of the world, forms the process of perception and thinking, develops imagination and helps them learn the language of film.
Če bomo mladega gledalca uvajali v svet filmske kulture in tako poglabljali njegovo znanje, bomo morda vzgojili osebo, ki bo ohranila interes za dobre filmske stvaritve in jih bo znala ceniti.
By introducing a young viewer into the world of film culture, thereby deepening his knowledge, we stand a chance of raising a person who will maintain an interest in valuable film creations and who is able to appreciate them.
Erwin Panofsky je leta 1934 dejal: „Filmi bolj kot katera koli druga sila oblikujejo mnenje, okus, jezik, oblačenje, vedenje in celo psihično podobo“ .
As Erwin Panofsky pointed out in 1934, "it is the movies that mo u ld , more than any other single force, the opinions, the taste, the language, the dress, the behaviour and even the psychical appearance".
Nobenega dvoma ni, da so izdatki držav članic za filmsko vzgojo dolgoročno donosna naložba.
Without doubt, Member State expenditure in film education is a profitable investment in the long-term.
Zato pozivamo države članice, naj filmsko vzgojo vključijo v svoje nacionalne izobraževalne programe.
Therefore the Member States are urged to introduce film education to their national teaching programmes.
Če želimo spodbujati kulturno raznolikost, na kateri temelji EU, moramo vlagati v mlade.
If we are aspiring to promote cultural diversity, on which the EU is founded, we ought to invest in young people.
Promocija evropske kinematografije
Promotion of European cinema
Ena izmed možnosti za promocijo in naložbe v popularizacijo evropske kinematografije v Evropi so filmski festivali.
One of the channels for promotion and investment in the popularisation of European cinema in Europe are film festivals.
Države članice in evropske institucije pozivamo, naj spodbujajo, podpirajo in razširjajo najboljše filme z organiziranjem posebnih dogodkov in festivalov.
Member States and European institutions are encouraged to promote, support and distribute the most valuable films by organising special events and festivals.
Odlična primera spodbujanja večkulturnosti in večjezičnosti sta pobudi Evropskega parlamenta filmska nagrada LUX in prihajajoči filmski festival LUX.
An excellent example of promoting multiculturalism and multilingualism is the European Parliament initiatives of the LUX Film Prize and the forthcoming LUX Film Festival.
Dodana vrednost te kulturne pobude je v tem, da odpira razprave o temah, o katerih je treba razpravljati in ki so pomembne za državljane držav članic.
The added value of this cultural initiative is that it generates debates on topics which need discussing and which are important to the citizens of the Member States.
Predvajani filmi obravnavajo pomembne evropske vrednote, katerih moč izhaja iz tega, da se izražajo v raznolikosti.
The films screened deal with important European values, whose strength comes from expressing themselves in diversity.
Zygmunt Bauman je v svoji knjigi zapisal, da kulturo vedno dojemamo kot prostor, v katerem je „drugi“ vedno naš sosed.
As stated in Zygmunt Bauman's book, culture is perceived as the space where the ”Other” is always one’s neighbour.
Če izhajamo iz te opredelitve, ni nobenega dvoma, da mora Evropa prevzeti pomembno vlogo pri oživljanju našega razumevanja kulture prav zato, ker je Evropa, s svojo veliko raznolikostjo ljudstev, jezikov in zgodovin, prostor, v katerem je „drugi“ vedno naš sosed in v katerem je vsak poklican k temu, da se uči od vseh ostalih.
Given this definition, there is no doubt that Europe has a particularly important role to play in revitalising our understanding of culture precisely because Europe, with its great diversity of peoples, languages and histories, is the space where the ”Other” is always one’s neighbour and where everyone is constantly called upon to learn from everyone else.
3. poudarja, da digitalizacija omogoča cenejšo distribucijo kulturnih vsebin po celotnem notranjem trgu, ponuja nove priložnosti za evropski filmski sektor ter zagotavlja konkurenčnost in raznolikost evropske kinematografije;
Points out that digitisation makes it possible to distribute cultural contents throughout the internal market more cheaply, opens up new opportunities for the European film sector and safeguards the competitiveness and diversity of European cinema;
6. poudarja, da so pri prehodu kinematografije v digitalno dobo potrebne javne in zasebne naložbe; poziva Komisijo in države članice, naj na področju financiranja digitalizacije razširijo najboljšo prakso, vključno s tržnimi rešitvami, kot je združevanje malih kinematografov v mreže za sklepanje pogodb z distributerji; poziva Komisijo, države članice in regije, naj javna sredstva za prehod na digitalno kinematografijo namenijo kinematografom, ki svojih finančnih potreb ne morejo pokriti iz drugih virov, ter naj poskrbijo, da bo prehodno obdobje čim krajše;
Emphasises the need for public and private investment as the cinema sector enters the digital era; calls on the Commission and Member States to disseminate best practices in the area of the financing of digitisation, including market-based solutions such as small cinemas forming networks to conclude collective agreements with distributors; calls on the Commission, Member States and regions to focus public funding for digital conversion on cinemas which cannot cover their financing needs from other sources, and to keep the transitional period as short as possible;
10. poudarja, da bi morala biti državna podpora tehnološko nevtralna, poleg tega pa bi morala zagotavljati trajnost naložb ob upoštevanju posebnih poslovnih modelov predvajalcev in tehničnih zahtev distributerjev;
Emphasises that, while public support should be technology-neutral, it should also guarantee the sustainability of investments, taking into account exhibitors’ specific business models and distributors’ technical requirements;
12. pozdravlja razvoj standarda 2K, ki je enoten, odprt, povsod po svetu združljiv in mednarodno veljaven standard ISO za digitalno projekcijo, ki upošteva posebne potrebe evropskih predvajalcev; poziva evropske in nacionalne organe za standardizacijo, naj ustrezno spodbujajo uporabo tega standarda;
Welcomes the fact that, with the 2K standard, a unique, open and compatible worldwide ISO standard has been developed for digital projection, which takes into account the specific needs of European exhibitors; calls on European and national standardisation organisations to promote the use of this standard accordingly;
Pablo Arias Echeverría, Adam Bielan, Cristian Silviu Buşoi, Trevor Colman, Lara Comi, Anna Maria Corazza Bildt, António Fernando Correia De Campos, Evelyne Gebhardt, Louis Grech, Małgorzata Handzlik, Malcolm Harbour, Ilijana Ivanova (Iliana Ivanova), Sandra Kalniete, Eija-Riitta Korhola, Edvard Kožušník, Hans-Peter Mayer, Phil Prendergast, Mitro Repo, Robert Rochefort, Zuzana Roithová, Heide Rühle, Christel Schaldemose, Andreas Schwab, Laurence J.A.J. Stassen, Catherine Stihler, Kiriakos Triantafilidis (Kyriacos Triantaphyllides), Emilie Turunen, Bernadette Vergnaud, Barbara Weiler
Pablo Arias Echeverría, Adam Bielan, Cristian Silviu Buşoi, Trevor Colman, Lara Comi, Anna Maria Corazza Bildt, António Fernando Correia De Campos, Evelyne Gebhardt, Louis Grech, Małgorzata Handzlik, Malcolm Harbour, Iliana Ivanova, Sandra Kalniete, Eija-Riitta Korhola, Edvard Kožušník, Hans-Peter Mayer, Phil Prendergast, Mitro Repo, Robert Rochefort, Zuzana Roithová, Heide Rühle, Christel Schaldemose, Andreas Schwab, Laurence J.A.J. Stassen, Catherine Stihler, Kyriacos Triantaphyllides, Emilie Turunen, Bernadette Vergnaud, Barbara Weiler
Magdi Cristiano Allam, Maria Badia i Cutchet, Zoltán Bagó, Malika Benarab-Attou, Lothar Bisky, Jean-Marie Cavada, Silvia Costa, Santiago Fisas Ayxela, Mary Honeyball, Cătălin Sorin Ivan, Petra Kammerevert, Morten Løkkegaard, Marek Henryk Migalski, Katarína Neveďalová, Doris Pack, Hrisula Paliadeli (Chrysoula Paliadeli), Marie-Thérèse Sanchez-Schmid, Marietje Schaake, Marco Scurria, Hannu Takkula, Sampo Terho, László Tőkés, Helga Trüpel, Sabine Verheyen, Milan Zver
Magdi Cristiano Allam, Maria Badia i Cutchet, Zoltán Bagó, Malika Benarab-Attou, Lothar Bisky, Jean-Marie Cavada, Silvia Costa, Santiago Fisas Ayxela, Mary Honeyball, Cătălin Sorin Ivan, Petra Kammerevert, Morten Løkkegaard, Marek Henryk Migalski, Katarína Neveďalová, Doris Pack, Chrysoula Paliadeli, Marie-Thérèse Sanchez-Schmid, Marietje Schaake, Marco Scurria, Hannu Takkula, Sampo Terho, László Tőkés, Helga Trüpel, Sabine Verheyen, Milan Zver
o predlogu direktive Evropskega parlamenta in Sveta o vzpostavitvi enotnega evropskega železniškega območja (prenovitev)
on the proposal for a directive of the European Parliament and of the Council establishing a single European railway area (recast)
– ob upoštevanju predloga Komisije Evropskemu parlamentu in Svetu ( KOM(2010)0475 ),
– having regard to the Commission proposal to Parliament and the Council (COM (2010)0475 ),
– ob upoštevanju člena 294(2) in člena 91 Pogodbe o delovanju Evropske unije, na podlagi katerih je Komisija podala predlog Parlamentu ( C7-0268/2010 ),
– having regard to Article 294(2) and Article 91 of the Treaty on the Functioning of the European Union, pursuant to which the Commission submitted the proposal to Parliament ( C7 ‑ 0268/2010 ),
– ob upoštevanju člena 14 in protokola št. 26 Pogodbe o delovanju Evropske unije o storitvah splošnega pomena;
– having regard to Article 14 of the Treaty on the Functioning of the European Union and Protocol No 26 thereto on Services of General Interest,
– ob upoštevanju svoje resolucije z dne 17. junija 2010 o izvajanju direktiv prvega železniškega paketa
– having regard to its resolution of 17 June 2010 on the implementation of the first railway package Directives
Sprejeta besedila, P7_TA(2010)0240 . ,
Texts adopted, P7_TA(2010)0240 . ,
– ob upoštevanju obrazloženega mnenja o uporabi načel subsidiarnosti in sorazmernosti, ki ga je v okviru Protokola št. 2 predložila Luksemburška poslanska zbornica in v katerem trdi, da se osnutek zakonodajnega akta ne sklada z načelom subsidiarnosti,
– having regard to the reasoned opinion submitted, within the framework of the Protocol (No 2) on the application of the principles of subsidiarity and proportionality, by the Chambre des Députés of Luxembourg, asserting that the draft legislative act does not comply with the principle of subsidiarity ,
UL C 104, 2.4.2011, str.
OJ C 104, 2.4.2100, p.
– ob upoštevanju Medinstitucionalnega sporazuma z dne 28. novembra 2001 o bolj sistematičnem ponovnem sprejemu pravnih aktov
– having regard to the Interinstitutional Agreement of 28 November 2001 on a more structured use of the rec asting technique for legal acts
– ob upoštevanju pisma Odbora za pravne zadeve Odboru za promet in turizem z dne 26. maja 2011 v skladu s členom 87(3) poslovnika,
– having regard to the letter of 26 May 2011 from the Committee on Legal Affairs to the Committee on Transport and Tourism in accordance with Rule 87(3) of its Rules of Procedure,
– ob upoštevanju poročila Odbora za promet in turizem ( A7-0367/2011 ),
– having regard to the report of the Committee on Transport and Tourism ( A7-0367/2011 ),