Cine e Internet

Paco León comparte su experiencia y resultados del estreno simultáneo de "Carmina o Revienta" y presenta la edición especial de "Pata Negra" en Territorio Creativo.

European filmmakers fear that the U.S.-EU negotiations set to start next month could threaten state support of the creative industry.

Álex de la Iglesia, que recibe el homenaje del festival de cine de Málaga, pide un cambio en el modelo de negocio

 

La solución pasa por un cambio de modelo de mercado y un cambio de modelo de financiación. Hay que buscar al público, en lugar de que el público nos busque a nosotros. Hay que abrir las ventanas”, finaliza. Y la apertura de esas ventanas al espectador en Internet solo viene por una negociación con todos los sectores. “No hay que tener miedo a los cambios. No podemos seguir vendiendo hielo por las calles cuando la gente tiene neveras”.

There’s no doubt the current buzz within the independent film industry is with crowd funding. Indie film had been struggling to generate funding long before the credit crunch, and virtually dried to a halt with the 2008 credit crisis – private investment became impossible to get hold of and public financing schemes collapsed (the UK film council is a perfect example of this). With global funding drying up, alternative methods of funding began to be explored with crowd funding coming to fore in 2009 with the launch of Kickstarter. Fast forward to 2013 and independent films have received over $100 million through Kickstarter alone (almost $58 Million in just 2012), not to mention what the other crowd funding platforms have raised. All this for the lose of 0% equity in the filmmakers project, its clear to see why crowd funding is an attractive funding route for filmmakers to explore and here to stay for a long time to come.

Desde 2002, la afluencia a las salas de cine ha ido descendiendo considerablemente, pero el beneficio bruto anual de la industria...

Not surprisingly, consumers don’t like to pay. Free/ad-supported sites such as TV network sites and Hulu each pull in more than 40 percent of viewers. Hulu Plus, a for-fee site, draws only 9 percent. However, our research indicated that this doesn’t mean consumers won’t pay. Understanding consumers’ consumption preferences can unlock much opportunity with streaming video. Key areas on which to focus are:

Convenience / quality: While consumers continue to perceive streaming video as lower in quality than other delivery methods, convenience—along with content—is king.

Device / integrated experience: More consumers have increased their consumption of Internet video on the tablet in the last two years than on any other video-capable device. But Internet video viewing still occurs most frequently in the home. Consumers who favor the integrated experience—merging television and the Internet via a set-top-box—spend the most time watching web video. Regardless, consumers clearly expect a seamless multiscreen experience, with mobility being a key factor. The highest percentage of consumers believe they will increase their online video viewing in the next two years on laptops, tablets, and smartphones.

Content: What do they like to watch on all those screens? TV shows are a clear favorite. Seventy-four percent of Internet video viewers watch their favorite TV shows online at least weekly, and 42 percent watch every day. That exceeds movies (52 percent weekly and 12 percent daily) and is far ahead of music videos, sports, and other events. Whatever the preference, a broad content library is a key incentive for consumers.

We've heard this one before, over and over again: pirates are the biggest spenders. It therefore shouldn't surprise too many people to learn that shutting down Megaupload earlier this year had a negative effect on box office revenues ...

 

The study analyzed weekly data from 1,344 movies in 49 countries over a five-year period. Here’s the crux of the results: “In all specifications we find that the shutdown had a negative, yet in some cases insignificant effect on box office revenues.” Not all movies were negatively affected: “For blockbusters (shown on more than 500 screens) the sign is positive (and significant, depending on the specification).”

El cine español se muere. O al menos el cine que hasta ahora hemos conocido. Está cambiando de manera vertiginosa la manera de hacer cine, la manera de verlo, de contar las historias, de conectar con el espectador. Y no solo eso, está cambiando a marcha forzada los modelos de financiación, los canales de distribución, se reducen las partidas presupuestarias destinadas al cine y hasta sube el precio de la entrada a las salas….

 

…No nos queda otra….reinventarse o morir!

 

Aunque lo cierto es que en el cine siempre hemos estado en crisis y siempre hemos tenido la capacidad de seguir hacia adelante. Sin ir más lejos, mi empresa siempre ha estado en una situación similar, desde su creación en el 2000 en Jaleo Films hemos sido auténticos supervivientes produciendo cine, desde Andalucía…que ya es…

 

Y es curiosamente ahora, en la peor de las circunstancias posibles, cuando conseguimos éxito de público y crítica con dos proyectos muy particulares: CARMINA O REVIENTA de Paco León y EL MUNDO ES NUESTRO de Alfonso Sánchez.

Joe Karaganis es el director del proyecto de medios y democracia The American Assembly,un grupo de investigación del Social Science Research Council responsable del estudio Piratería de medios en las economías emergentes — un estudio que en solo...