Annex 2: Country Studies
France
Key Points
· The large number of sites.
· The high level of integration of
the three leading national players.
· The central role of the public
authorities.
· Paris' privileged position in the
economy of exhibition.
· The absence of international players
in the French exhibition industry.
· The maintenance by European films
of a substantial share of admissions.
· The phenomenon of "municipalisation"
of theatres in rural areas.
Screens and Admissions
|
France
|
EU
|
France
|
EU
|
|
Admissions
|
Admissions
|
No. of screens
|
No. of screens
|
1960-92 |
-67%
|
-80%
|
-23%
|
-40%
|
1980-92 |
-34%
|
-38%
|
-2%
|
-24%
|
1985-92 |
-34%
|
- 3%
|
-14%
|
- 9%
|
1992
|
France
|
EU
|
|
|
Average*
|
Total
|
Number of screens |
4,402
|
|
16,621
|
Number of seats ('000) |
972
|
|
4,509
|
Number of admissions per seat |
119
|
124
|
|
Total number of admissions (millions) |
115.9
|
|
561.0
|
Number of admissions per head of population |
2.03
|
1.61
|
|
* unweighted average
Concentration in Exhibition
1992
|
France
|
EU
|
|
Screens
|
Admissions
|
Screens
|
Admissions
|
Market share of Top 3 players* |
12%
|
33%
|
18%
|
34%
|
Market share of independents responsible for
own programming |
60%
|
40%
|
68%
|
47%
|
* theatres owned by them
The market share of independent exhibitors is still high in France,
in line with the European average. The existence of numerous groups of
independents should, however, be emphasized: these carry out their programming
in a centralised fashion, or coordinate with other members of the group
to which they belong. Cinemas where programming is carried out in a centralised
fashion, either through circuits, or through groups of independent cinemas,
are estimated to have a 60% share of all admissions.
The exhibition sector is dominated by three national circuits, collectively
bringing together 517 screens which they own, or nearly 1,000 (if we include
all the screens which they programme). They therefore own only a half of
the screens which they programme, the others being affiliated and which
benefit from the circuit's programming in exchange for a share of their
takings. Their market share of admissions is 33.5% for the theatres which
they own, and more than half the French market by admissions if we include
the screens which they programme.
Amongst the three dominant circuits, UGC leads with 14.8% of the market
by admissions with only 5.2% of the screens owned. This big group integrates
the majority of activities of the audiovisual sector: production, distribution
and advertising. It is also present in foreign exhibition markets, and
its Belgian subsidiary manages three important complexes in the city of
Brussels. The UGC cinemas, like those of the other two circuits, are located
exclusively in urban areas with more than 100,000 inhabitants, and the
group's strategy is orientated towards top quality cinemas and multiplexes
programmed with a majority of "mass market" films.
Access by Films to Screens
Companies involved in both distribution and exhibition
- 1992
|
Distribution market share
(% admissions)
|
Exhibition market share
(% admissions)
|
UGC |
8.5%
|
14.8%
|
Gaumont |
7%
|
11.4%
|
Pathé |
15% (AMLF)
|
7.3%
|
The national market is distinguished from its European counterparts
by the significance of the vertically integrated national players within
it. All three principal exhibition circuits are in fact also present in
the distribution sector, where they are solidly established, with a cumulative
market share of over 30%. UGC and Gaumont also engage in feature film production.
It is generally agreed that the maintenance of the positions of the three
circuits protects the market against the constitution of either a quasi-monopoly
around a national player, as can be seen in Portugal or Ireland, or, more
importantly, from the penetration by US players into all segments of the
film industry, as is the case in the United Kingdom.
The level of competition between the exhibitors who are found in local
markets differs according to the type of geographical area. It has been
considerably modified in the last two decades as a result of a large number
of cinema swaps, carried out by the three national circuits (particularly
Gaumont and Pathé). Following these agreements, Pathé have
almost completely withdrawn from the Paris area, and a certain number of
provincial cinemas have been exchanged, to achieve, in several towns, monopoly
situations for one circuit over the whole catchment area.
It is remarkable to note that, nationally, the cinemas of the three
circuits - owned and programmed - control 70% of the sites and 95% of the
admissions in towns with more than 100,000 inhabitants, which bestows on
them a privileged position in the majority of the most profitable markets.
(There are, of course, still some urban areas where an independent exhibitor,
with several establishments, controls the majority of the market, but this
is more often the case in middle-sized towns than in the main urban areas.)
Because of its statistical importance (23% of the market) and also
because of its historic role as a cultural and economic centre, the Parisian
area plays a determining role in the success of film releases: a run in
the capital's cinemas, or rather the cinemas in key parts of the city decide
the success of a film at national level, and is a staging post which cannot
be ignored in a successful release strategy.
There is a specific structure in France for resolving conflicts between
the various players involved in the distribution of films to cinemas: the
"Médiateur du Cinéma". Although this cannot impose sanctions
or fines, it has a role of arbitration and mediation; it is a unique arrangement
and an increasing number of exhibitors have asked this mediator for help.
Conflicts are rarely linked to vertical integration. They mostly concern
disputes between the bigger independent exhibitors in the provinces and
other independents or the circuits, and deal with the access by cinemas
to specific films, granted exclusively to another establishment (named
or otherwise).
Ticket Prices and Exhibitors' Shares
1992
|
France
|
EU average
|
Average ticket price incl. taxes (ECUs) |
5.11
|
4.19
|
Average rental as a % of box office net of tax |
47%
|
47.2%
|
Exhibitor's average share (%) |
53%
|
52.8%
|
Exhibitor's share of ticket price (ECU) |
2.20
|
1.93
|
Exhibitor's average share per screen (000 ECUs) |
58
|
63
|
The CNC closely supervises all the commercial practices of players in
the film industry. It is a public body which has oversight over exhibition.
It regulated ticket prices until 1986. Nowadays, they are not regulated,
and are at a level substantially higher than the European average. Some
feel that such high prices create a barrier to increased cinema-going.
Strictly proportional remuneration dominates commercial practice. Rentals
estimated at 47% after tax, are also relatively high in relation to levels
observed elsewhere in Europe.
By contrast to what happens in Germany, Denmark and the Netherlands,
French industry organisations (the exhibitors' federation and exhibitors'
associations) rarely get involved with negotiations about the commercial
conditions which govern relationships between distributors and exhibitors.
Rental rates in practice are negotiated case by case between exhibitors
and distributors, but they are nevertheless formalised by the State, which
stipulates that rentals must be between 25 and 50% of net takings (the
average in practice was 47% in 1992).
After deductions of the various levies, and paying the distributors,
the exhibitors' share of box office receipts still remains higher than
the European average. Part of the levies taken by the State are returned
to the exhibitors in the form of subsidies to renovation or to programming.
Cinemas Provision
1992
|
France
|
EU*
|
Number of screens per 100,000 population |
7.69
|
5.24
|
Number of seats per screen |
221
|
266
|
% large screens |
10%
|
24%
|
% Dolby |
50%
|
51.4%
|
% multiplexes (7+ screens) |
11%
|
10.7%
|
* weighted average
The density of sites is particularly high in France, as it reaches
7.7 screens per 100,000 inhabitants, which is 50% more than the European
average. This high density partly explains why the performances of screens,
expressed in terms of admissions per seat (118), is lower than the European
average (124), despite a high annual number of visits in France.
The level of modernisation is very uneven: the creation of cinema complexes
resulted in the 1980s in there being a majority of multi-screen establishments,
but the subsequent stage, which consists of equipping theatres with top
of the range equipment (stereo sound, amenities, restaurants) has only
been attained by the circuits and a handful of independents. The State
is now planning action to improve cinema quality throughout the sector
(particularly the "Sound Plan", which seeks to equip 100% of theatres with
stereo).
The concentration of public subsidies on the renovation of theatres
in the less populated areas, combined with the effect on the industry of
the construction of multi-screens in the big cities, must result in a significant
improvement in the average quality of the screens in the short term.
The larger multi-screens - 8 screens or more - have only been operating
in France since 1991. The initiative to build came mostly from the national
circuits, who were already dominant (UGC, Pathé, Gaumont). The complexes
already built include up to 15 screens and are located near the centre
of the big cities (Lyon, Lille, Toulon, Marseille) and, above all, in Paris,
which also accounts for most of the planned multiplexes.
In 1992, complexes with more than 8 screens made up 5% of the market
(by screens); those with more than 7 screens made up 11%; this corresponds
with the European average, but is still significantly lower than Belgium
and the United Kingdom.
Programming
1992
|
France
|
EU*
|
US films' market share |
58%
|
74%
|
European films' market share
- of which national films |
39%
35%
|
24%
17%
|
Art-house & experimental: screens as % of
all screens |
14%
|
10.8%
|
Art-house & experimental: share of admissions |
15%
|
9.7%
|
* weighted average
Although American films have risen at a lightning speed in terms of
numbers of visits to the French cinema in the last twenty years (20% in
1973; 60% in 1992!), France is still distinguished today from the other
European countries by the lowest penetration rate of films from the other
side of the Atlantic, far weaker than the countries in North Europe, where
the US films have a market share of 80% or more. This statistic is mostly
due to the strong position of French films - admittedly, supported by the
public authorities - and not to the maintenance of "consumption" of European
films in general. In practice, the market share of films which come from
the rest of the EU (4-5% by admissions) is not very different from that
found in other EU countries. French films still attract 35% of admissions,
which is nearly twice the European average for the market share of national
films.
The big integrated circuits each have slightly different approaches
to programming: particularly Pathé, which has developed a slightly
more "cinéphile" programming policy than the other networks, like
UGC. This is because of the history of the company, and of the Edeline
family who are closely linked with it, and their involvement in both production
and programming at key periods in the evolution of the French cinema.
Generally, few exhibitors and, amongst them, even fewer independents,
have sufficient freedom to develop a proper programming strategy. Globally,
for both circuits and independents, programming policy is very dependent
on relationships with distributors, and on the number of prints released
on to the market.
Independent exhibition has therefore not developed around programming
policies different from those of the integrated circuits; it is only distinct
from the circuits because of a lack of integration, and because of more
limited means.
There is, however, a sub-group of independent exhibitors with a particular
identity: this is the art and experimental cinemas, distinguished by a
subsidised economy, a precise schedule of conditions on the subject of
programming, and a network logic. The targeted programming of the Art and
Experimental sector, and the significant subsidies given to its approximately
600 theatres (these theatres are classified as "Art and Experimental" by
the CNC if they programme a significant proportion of films which are themselves
classed as art-house and experimental) have enabled the cinemas in this
group to maintain a substantial market share (15%) and a satisfactory level
of performance, since their share of admissions is higher than their share
of theatres, a rare position amongst the different national cases studied.
Role of the Public Authorities
1992
|
France
|
EU*
|
Taxes:
- VAT
- Other taxes
- Rights (musical) |
5.30%
11.00%
1.50%
|
10.80%
5.18%
-
|
- Total/ticket (in ECU)
|
0.88
|
0.65
|
Financial assistance:
- Total (in ECU Millions) |
34.4
|
52.7
|
- Per ticket (in ECU)
|
0.30
|
0.09
|
* unweighted average
The system of public subsidies to the film sector is one of the most
distinctive elements of the French market. Measured both by the size of
funds distributed, and by the diversity of actions taken, France is the
country in Europe where the public authorities play the greatest structural
role in the cinema's economy.
The amount of subsidy per ticket sold is effectively three and a half
times that of the EU average. However, it must be stated that the major
contribution of the State in this domain is to organise the re-distribution
of revenues within the audiovisual sector: the majority of funds distributed
come from levies on tickets (TSA) and on the returns of the other audiovisual
industries (broadcasters, pay TV etc.).
The effect of this transfer system on exhibitors' returns is quite
significant, because TSA represents 11% of gross takings. However, the
rate of real taxation (VAT) is lower than those practised in the rest of
Europe.
Amongst the different types of subsidies granted, we must emphasize
the importance of print subsidies print. The ADRC - a dependent agency
of the CNC - manages a programme financing the making of supplementary
prints destined for provincial cinemas. A significant number of prints
resulted from this measure in 1992 (nearly 4,000) for a total of 100 US
and European films.
Owing to the ADRC's activities, a large proportion of the subsidies
are specifically directed towards encouraging exhibition in the regions:
particularly its initiative to renovate and maintain the quality of cinemas
in the less-populated areas.
As well as action by the national public administration, local government
is also significantly involved in the management of the exhibition sector:
it is estimated that nearly 20% of screens are owned and at least partly
managed by the local authorities. A large proportion of the single-screen
cinemas in areas of low population are owned by the local council, and
constitute a separate segment of the exhibition industry. The programming
of these cinemas is not very different from that of commercial cinemas.
This wave of local government involvement in the exhibition industry
is gathering momentum. A large number of regional governments have now
signed agreements with CNC concerning the development of exhibition in
their area of influence, and are already involved in the financing of programmes
to support exhibition.