natgillin/translations-raw huggingface dataset:
– ob upoštevanju delovnega dokumenta služb Komisije z dne 2. julija 2010 o izzivih za evropsko filmsko dediščino iz analogne in digitalne dobe (Drugo poročilo o izvajanju priporočila o filmski dediščini) ( SEC(2010)0853 ),
– having regard to the Commission staff working document of 2 July 2010 on the challenges for European film heritage from the analogue and the digital era (Second implementation report of the Film Heritage Recommendation) ( SEC(2010)0853 ),
– ob upoštevanju sporočila Komisije z dne 26. avgusta 2010 z naslovom „Evropska digitalna agenda“ ( KOM(2010)0245 ),
– having regard to the Commission communication of 26 August 2010 on ‘A Digital Agenda for Europe’ ( COM(2010)0245 ),
– ob upoštevanju sporočila Komisije z dne 24. septembra 2010 o priložnostih in izzivih evropske kinematografije v digitalni dobi ( KOM(2010)0487 ),
– having regard to the Commission communication of 24 September 2010 on opportunities and challenges for European cinema in the digital era ( COM(2010)0487 ),
– ob upoštevanju zelene knjige Komisije z dne 27. aprila 2010 o izkoriščanju potenciala kulturnih in ustvarjalnih industrij“ ( KOM(2010)0183 ),
– having regard to the Commission Green Paper of 27 April 2010 on ‘Unlocking the potential of cultural and creative industries’ ( COM(2010)0183 ),
– ob upoštevanju zelene knjige Komisije z dne 13. julija 2011 o spletni distribuciji avdiovizualnih del v Evropski uniji: priložnosti in izzivi na poti do enotnega digitalnega trga ( KOM(2011)0427 ),
– having regard to the Commission Green Paper of 13 July 2011 on the online distribution of audiovisual works in the European Union: opportunities and challenges towards a digital single market ( COM(2011)0427 ),
– ob upoštevanju svoje resolucije z dne 2. julija 2002 o nekaterih pravnih vidikih, povezanih s kinematografskimi in drugimi avdiovizualnimi deli
– having regard to its resolution of 2 July 2002 on certain legal aspects relating to cinematographic and other audiovisual works
UL C 271 E, 15.11.2003, str.
OJ C 271 E, 12.11.2003, p.
– ob upoštevanju svoje resolucije z dne 13. novembra 2001 o zagotavljanju boljšega razširjanja evropskih filmov na notranjem trgu in v državah kandidatkah
– having regard to its resolution of 13 November 2001 on achieving better circulation of European films in the internal market and the candidate countries
– ob upoštevanju mnenja Odbora regij z dne 2. aprila 2011 o evropski kinematografiji v digitalni dobi
– having regard to Committee of the Regions’ opinion of 2 April 2011 on ‘European cinema in the digital era’
UL C 104, 2.4.2011, str.
OJ C 104, 2.4.2011, p.
– ob upoštevanju svoje resolucije z dne 12. maja 2011 o izkoriščanju potenciala kulturnih in ustvarjalnih industrij
– having regard its resolution of 12 May 2011 on unlocking the potential of cultural and creative industries
Sprejeta besedila, P7_TA-PROV(2011)0240 . ,
Texts adopted, P7_TA-PROV(2011)0240 . ,
– ob upoštevanju poročila Odbora za kulturo in izobraževanje ter mnenja Odbora za notranji trg in varstvo potrošnikov ( A7-0366/2011 ),
– having regard to the report of the Committee on Culture and Education and the opinion of the Committee on the Internal Market and Consumer Protection ( A7-0366/2011 ),
A. ker je kultura pomemben temelj za evropske identitete in skupne vrednote,
A. whereas culture forms a fundamental basis for European identities and shared values;
B. ker je kultura v središču sodobnih razprav o identiteti, socialni koheziji in razvoju gospodarstva, temelječega na znanju, kot je navedeno v Splošni deklaraciji Unesca o kulturni raznolikosti iz leta 2001,
B. whereas culture is at the heart of contemporary debates on identity, social cohesion and the development of a knowledge-based economy, as is stated in the 2001 UNESCO Universal Declaration on Cultural Diversity;
C. ker ima vsakdo pravico sodelovati v skupnem kulturnem življenju in uživati v umetnosti, poleg tega pa kinematografska umetnost prispeva k medsebojnemu spoznavanju ljudi z enako človeško izkušnjo, kar omogoča oblikovanje evropske identitete,
C. whereas everyone has the right to participate in the cultural life of the community and to enjoy the arts and whereas cinema art, moreover, helps people to acknowledge one another, sharing the same human experience, helping to create a European identity;
D. ker naložbe v kulturo kažejo dolgoročne, nematerialne, večgeneracijske rezultate pri oblikovanju evropske identitete,
D. whereas investments in culture show long-term, non-material, multigenerational results in shaping the European identity;
E. ker predstavlja evropski avdiovizualni sektor, vključno s kinematografijo, pomemben del gospodarstva EU in bi moral biti bolj konkurenčen na svetovni ravni,
E. whereas the European audiovisual sector, including cinema, constitutes a significant part of the EU economy and should be more competitive at the global level;
F. ker je evropski film pomemben del kulture, ki spodbuja dialog in razumevanje ter predstavlja in razkriva evropske vrednote znotraj in zunaj EU, obenem pa ima pomembno vlogo pri ohranjanju in podpiranju kulturne in jezikovne raznolikosti,
F. whereas European film is an important part of culture, promoting dialogue and understanding, embodying and showing European values within and outside of the EU, whilst playing a significant role in the preservation and support of cultural and linguistic diversity;
G. ker bi morali evropski kinematografi okrepiti ozemeljsko in socialno celovitost,
G. whereas European cinema should strengthen territorial and social integrity;
H. ker digitalna doba prinaša nove priložnosti za avdiovizualni sektor, zlasti v filmski industriji, kar zadeva učinkovitejšo distribucijo, predvajanje in dostopnost filmov ter višjo kakovost zvoka in slike, ki jo ponuja evropskemu občinstvu, prinaša pa tudi nekatere resne izzive za evropsko kinematografijo v procesu prehajanja na digitalno tehnologijo, zlasti glede financiranja,
H. whereas the digital era brings new opportunities for the audiovisual sector, in particular in the film industry as regards more effective distribution, screening and availability of films and as regards the higher audio and visual quality that it offers for European audiences, while it also creates some serious challenges to European cinema in the process of moving to digital technologies, particularly with regard to finance;
I. ker digitalna tehnologija zato prispeva k uresničevanju ciljev EU in nacionalnih ciljev na področju prikazovanja in dostopnosti evropskih del ter socialne kohezije;
I. whereas digital technologies therefore contribute to the implementation of EU and national goals on the screening and accessibility of European works, and on social cohesion;
J. ker digitalna kinematografska tehnologija omogoča prilagodljivo načrtovanje promocij ter spreminjanje gradiv v zadnjem trenutku,
J. whereas digital cinema technology makes possible flexible promotion planning and last-minute changes in material;
K. ker prva faza digitalizacije evropske kinematografije ni prinesla enakih koristi za vse;
K. whereas the first phase of the digitisation of European cinema has been of uneven benefit;
L. ker je najnovejša generacija digitalne opreme za 25–30 % cenejša kot prej in je zdaj dostopnejša za evropske kinematografe in programe financiranja,
L. whereas the latest generation of digital equipment is approximately 25-30% cheaper than previous models and is now at a more accessible level to both European cinemas and funding programmes;
M. ker niso vsi kinematografi enako usposobljeni za premagovanje izzivov digitalizacije kinematografov,
M. whereas not all cinemas are equally capable of coping with the challenge of digitisation of cinemas;
N. ker je treba čim prej izvesti popolno digitalizacijo evropske filmske industrije in njenih kinematografov, da bi preprečili zmanjšanje dostopa do kulturne raznolikosti in razpoložljivosti na več platformah, ter jo podpreti na evropski in nacionalni ravni,
N. whereas the complete digitisation of both the European film industry and its cinemas must be accomplished urgently, to avoid a reduction of access to cultural diversity and availability on multiple platforms, and should be supported at European and national level;
O. ker neodvisna in umetniška platna tvorijo edinstveno evropsko omrežje kinematografov z raznolikim programom, ki ugaja občinstvu zunaj komercialnih prevladujočih trendov,
O. whereas independent and art-house screens constitute Europe’s unique cinema network, representing diverse programming that appeals to an audience outside the commercial mainstream;
P. ker bi bilo treba upoštevati zaskrbljenost umetniških kinematografov, ki so predlagali posebne in prednostne ukrepe za spodbujanje produkcije in distribucije neodvisnih evropskih filmov,
P. whereas the concerns expressed by art-house cinema organisations, which have suggested special and priority measures to promote the production and distribution of independent European films, should be acknowledged;
Q. ker so lokalni in regionalni upravljavski organi odločilni akterji pri zaščiti ter promociji evropske kulturne dediščine, zlasti na področju digitalizacije filmov in kinematografov, zato so temeljni partnerji v procesu digitalizacije,
Q. whereas local and regional governing bodies are key entities in defending and promoting European cultural heritage, in particular the digitisation of films and cinemas, and therefore constitute fundamental partners in the digitisation process;
R. ker so kinematografi pomembni za ohranjanje kakovosti življenja in socialne interakcije v mestnih središčih in predmestjih ter za prenovo mestnih območij,
R. whereas cinemas are an important means of preserving the quality of life and social interaction in old city centres and in the suburbs, and of regenerating urban areas;
S. ker morajo biti evropska kinematografska dela uspešna v Evropi pred mednarodno distribucijo, s čimer bo mogoče doseči njihove finančne cilje ter vzpostaviti obliko kulturnega sodelovanja in diplomacije, prek katere bi evropska dela in raznoliko mešanico kultur razširjali v tretje države,
S. whereas European cinematographic works need to meet with success in Europe if they are to be distributed internationally, thus enabling them to meet their financial objectives and constitute a form of cultural cooperation and diplomacy through which not only the works, but also Europe’s diverse mix of cultures, are disseminated in third countries;
T. ker bi moral biti prehod na digitalno tehnologijo čim hitrejši, da bi se tako izognili podvajanju stroškov produkcije in distribucije,
T. whereas the digital transition should be as fast as possible in order to avoid the doubling of production and distribution costs;
U. ker evropsko filmsko industrijo trenutno delijo državne in jezikovne meje, filmi pa so v prvi vrsti narejeni za lokalno občinstvo v državi izvora, ki si te filme tudi v glavnem ogleda,
U. whereas the European film industry is currently fragmented along national and linguistic borders, and whereas films are in the first place made for and consumed by the local audience of the country of origin;
1. poudarja pomemben prispevek evropske kinematografije k naložbam v digitalno tehnologijo, inovacije, rast in delovna mesta;
Emphasises the important contribution of European cinema to investment in digital technologies, innovation, growth and jobs;
5. ugotavlja, da je evropski kinematografski trg zelo razdrobljen in raznolik in da ima velika večina kinematografov le eno ali dve platni;
Notes that the European cinema market is highly fragmented and diversified, a great majority of the cinemas having only one or two screens;
8. poudarja, kako pomembna je družbena in kulturna vloga kinematografov, ki jo je treba ohraniti, zlasti na podeželju in oddaljenih območjih;
Emphasises the importance of the social and cultural role played by cinemas, one which must be preserved, particularly in rural and remote areas;
Priložnosti in izzivi
Opportunities and challenges
32. poziva male in neodvisne kinematografe, naj v celoti izkoristijo svoj komercialni potencial z diverzifikacijo produktov ter tako dodajo vrednost svojim storitvam in izkoristijo svojo tržno nišo;
Urges small and independent cinemas to take every advantage of their commercial potential, through product diversification, adding value to the service they provide and utilising the niche market they occupy;
34. priznava, da so lahko visoki stroški digitalizacije, ki bo zagotovila dolgoročno komercialno korist, veliko breme za številne majhne in neodvisne kinematografe ter umetniške kinematografe, katerih program je širši od prevladujočih trendov in ki v veliki meri prikazujejo evropske filme;
Acknowledges that the high costs of digitisation, which will provide long-term commercial benefit, can nevertheless create a significant burden for many small and independent cinemas and film theatres whose programming goes beyond the main stream, with a high proportion of European films;
44. poudarja, da se evropska filmska industrija sooča s težavami pri razširjanju in distribuciji filmov, zlasti nizkoproračunskih, ter da številne produkcije dosežejo le nacionalne trge in se redko tudi mednarodno predvajajo, zaradi česar ne morejo doseči širšega občinstva po vsej celini in v svetu;
Points out that the European film industry faces problems with the circulation and distribution of films, especially those with lower budgets, and that many productions reach only national markets and rarely get screened internationally, which prevents them from reaching wider audiences across the continent and the world;
46. priznava, da digitalizacija avdiovizualne produkcije in distribucije prinaša nove izzive za institucije za filmsko dediščino pri njihovi dejavnosti zbiranja, shranjevanja in ohranjanja evropske avdiovizualne dediščine;
Acknowledges that the digitisation of audiovisual production and distribution poses new challenges to film heritage institutions in their activities of collecting, conserving and preserving the European audiovisual heritage;
Interoperabilnost, standardizacija in arhiviranje
Interoperability, s tandardisation and archiving
57. priznava, da bo arhiviranje filmov v teku njihove digitalizacije ali popolnoma digitalne izdelave sicer tehnično lažje, vendar bo glede standardov in vprašanj avtorskih pravic v prihodnje prineslo več izzivov;
Concedes that, although the archiving of films will become technically easier as a result of their digitisation or purely digital production, it will entail more challenges in future because of the issues of standards and copyright;
62. priporoča državam članicam, naj z zahtevo po oddaji standardnega digitalnega originala za digitalne filme vzpostavijo mehanizme obvezne oddaje ali že obstoječe mehanizme prilagodijo digitalnim oblikam;
Recommends that Member States set up compulsory deposit mechanisms for digital formats or adapt their existing mechanisms to such formats by requesting the deposit of a standard digital master for digital films;
65. 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;
Modeli financiranja
Financing models
69. poudarja, da so evropski strukturni skladi sicer pomemben vir financiranja projektov digitalizacije in pobud za usposabljanje, vendar bi bilo treba v okviru novega večletnega finančnega okvira za obdobje 2014–2020 povečati sredstva, skrajšati čakalne dobe in poenostaviti prijave;
Underlines that although the European Structural Funds are a significant source of financing for digitisation projects and training initiatives, funding should be increased, the waiting times shortened and the applications simplified as part of the new Multiannual Financial Framework 2014-2020;
74. meni, da bi bilo treba digitalno opremiti kinematografe na manj poseljenih območjih z redkimi kulturnimi dogodki, ki ne zmorejo pokriti stroškov prehoda na digitalno tehnologijo;
Considers that cinemas located in less well populated areas, where cultural events are rare, and which are not in a position to pay the costs of converting to digital, should be fitted out with digital equipment;
83. poudarja pomen ustreznih naložb v raziskave, financiranje in usposabljanje strokovnjakov, ki že delajo na tem področju, da se bodo lahko prilagodili uporabi novih tehnologij ter da se zagotovita socialna vključenost in varnost zaposlitve;
Highlights the importance of appropriate investment in research, funding and training for professionals already working in this field to enable them to adapt to the use of new technologies and to guarantee social inclusion and employment protection;
Pristojbina za virtualni film (VPF)
Virtual Print Fee (VPF)
Filmska vzgoja
Film education
99. poudarja pomen programa MEDIA pri digitalizaciji kinematografov in poziva k ohranitvi obstoječih finančnih postavk ter k povečanju sredstev v naslednji generaciji programa za soočanje z izzivi, ki jih prinašajo digitalne tehnologije;
Stresses the importance of the MEDIA Programme in the digitisation of cinemas and calls for existing funding lines to be maintained, as well as for increased funds in the next generation of the programme to tackle the challenges brought by digital technologies;
107. priporoča, naj se prek programa MEDIA v okviru prizadevanj za podporo vseevropske distribucije vlaga v video na zahtevo, spodbuja nadnacionalno sodelovanje med platformami in nagrajuje pobude za čezmejno sodelovanje;
Recommends that the MEDIA programme invest in VOD as part of its efforts to support pan-European distribution, promote transnational collaboration between platforms and reward initiatives involving cross-border collaboration;
Modeli distribucije
Models of distribution
119. spodbuja države članice, naj zagotovijo kar najširšo vključenost evropskih filmov v sporede svojih kinematografov, da se okrepi njihovo kroženje in promocija po EU ter da bodo državljani EU lahko uživali v bogastvu in raznolikosti teh filmov prek čim večjega števila platform;
Encourages Member States to ensure the widest possible inclusion of European films in the screening programmes of their cinemas in order to enhance their circulation and promotion across the EU, and to enable EU citizens to appreciate the richness and diversity of such films, through the widest variety of platforms;
122. priznava pomen podpore neodvisnim kinematografom, ki so namenjeni evropskim filmom (npr. članom mreže Europa Cinemas), za okrepitev njihove evropske programske politike in raznolikosti ter njihove konkurenčnosti na trgu;
Acknowledges the importance of supporting independent cinemas dedicated to European films (such as Europa Cinemas members) in order to reinforce their European programming policy and diversity and their competitiveness on the market;
127. predlaga boljše sodelovanje in interakcijo s tretjimi državami, ki naj bosta usmerjena v krepitev prepoznavnosti evropskih produkcij na svetovnem trgu ter zlasti na območju Sredozemlja, spodbujanje kulturnih izmenjav ter uvedbo novih pobud v podporo evro-sredozemskemu dialogu in demokratičnemu razvoju vse regije, tudi glede na zaveze, ki izhajajo iz evro-sredozemske konference o kinematografiji;
Proposes better cooperation and interaction with third countries aimed at raising the profile of European productions on the world market, and particularly in the Mediterranean area, promoting cultural exchanges and launching new initiatives in support of the Euro-Mediterranean dialogue and the democratic development of the whole region, not least in view of the commitments arising from the Euro-Mediterranean Conference on Cinema;
Poročilo o evropski kinematografiji v digitalni dobi je v prvi vrsti vabilo k razmisleku o sami funkciji kinematografije: o tem, kakšna je njena vloga pri ustvarjanju trajnostne civilne družbe?
"European cinema in the digital area” serves first and foremost as an invitation to consider the very function of cinema: which role does it play in the creation and sustainability of a civil society ?
Vez med državljani in njihovimi nacionalnimi ali evropskimi institucijami je krhka.
The link between citizens and their national or European institutions is fragile.
V osrčju tega krhkega odnosa je vprašanje naše identitete, tako individualne kot kolektivne.
At the heart of this fragile relationship lies the question of our identity, both individual and collective.
Kaj torej danes pomeni biti evropski državljan?
But what does it mean to be a European citizen today?
Kinematografija nam daje zelo prepričljiv odgovor.
Cinema provides a very powerful answer.
To kulturo pa oblikuje instrument, ki je temelj naše individualne in kolektivne zavesti, ki ustvarja evropsko upanje.
And this culture is 'shaped' by an instrument that is the cornerstone of our individual and collective consciousness, which in turn creates a European hope.
Ponovna opredelitev funkcije kinematografije v evropskem kontekstu „Evropska kinematografija v digitalni dobi“ postavlja pod vprašaj javne politike v podporo evropski kinematografiji.
The redefining of the function of the cinema in the European context, "European cinema in the digital area” puts into question the public policies implemented to support the European cinema.
Kinematografijo je treba obravnavati z dveh vidikov: na eni strani kot orodje kulture, pri katerem naložbe obrodijo dolgoročne neopredmetene rezultate, na drugi pa kot pomembno vejo evropske industrije.
Cinema needs to be looked at in two different ways, on the one hand as a tool of culture where investments produce long-term intangible results, on the other hand as an important branch of the European industry.
Ustvarjanje je srce kulture, industrija pa njena pljuča.
Creation is the heart of culture whereas industry is its lungs.
Izzivi za evropsko kinematografijo
Challenges for European cinema
Evropska kinematografija se sooča z največjim izzivom doslej: obvladovanjem zahtev sodobne tehnologije.
European cinema is facing its biggest challenge to date: coping with the requirements of modern technology.
Prihodnost kinematografije je neločljivo povezana z začetkom digitalne dobe.
The future of cinema is inseparably tied to the arrival of the digital era.
Sodobna tehnologija spreminja avdiovizualni sektor, ustvarja izzive in možnosti za produkcijo, distribucijo in dostopnost evropske kinematografije, prinaša pa tudi nekatere nevarnosti pri prehodu z analognih na digitalne sisteme.
Modern technologies change the audiovisual sector, creating challenges and possibilities for production, distribution and the accessibility of European cinema as well as certain dangers in the transition from analogue to digital systems.
Proces preoblikovanja je treba doseči hitro, usklajen pa mora biti tako na nacionalni kot tudi na evropski ravni.
The transformation process should be achieved expeditiously and be coordinated on a national as well as European level.
Sodelovanje v tem procesu bi moralo biti odgovornost javnega in zasebnega sektorja.
Participation in this process should be the responsibility of both the public and the private sector.
Potencial evropske kinematografije
Potential of European cinema
Evropska kinematografija ima ogromen potencial.
European cinema has enormous potential.
Po podatkih Evropskega avdiovizualnega observatorija je v Evropski uniji približno 30.000 platen.
According to data from the European Audiovisual Observatory there are approximately 30,000 screens in the European Union.
Večinoma gre za manjše kinematografe z le enim ali dvema platnoma.
Most of these are small cinemas consisting of just one or two screens.
V zadnjih letih smo priča pospešeni digitalizaciji kinematografov, do katere prihaja zaradi produkcije digitalnih filmov, večinoma iz Združenih držav, ter zaradi vse večjega povpraševanja javnosti po filmih, narejenih s pomočjo tehnologije 3D.
In recent years we have witnessed an acceleration of the process of digitisation of cinemas stemming from production of digital films, mainly from the United States, as well as the increased public demand for films made using 3D technology.