(联合国)欢迎客人:跨国视频点播和意大利新的欧洲作品配额

IF 1.4 Q2 COMMUNICATION
Alessandro D’Arma, G. Gangemi
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引用次数: 2

摘要

有利于“欧洲作品”的节目编排和投资配额是欧洲视听“文化政策工具包”的重要组成部分。为了重申其作用,修订后的2018年视听媒体服务指令(AVMSD)更新了这些规则,以应对非洲大陆跨国视频点播(VoD)服务的兴起。本文探讨了意大利为什么以及如何在2017年开始改革其国内配额制度,同时修订AVMSD。这表明,意大利决策者试图采用一种比以前严格得多的配额制度,这种制度也在很大程度上偏离了欧盟的做法。这里提供的证据表明,虽然国家广播公司设法让政府淡化了最初的提议,但Netflix和其他VoD提供商直到后期才参与与政府的正式讨论,也无法形成对他们有利的政策结果。我们认为,意大利的案例是继续致力于将配额作为欧洲视听文化政策工具包的核心要素的一个典型例子。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
(Un)welcome guests: Transnational video-on-demand and the new European works quotas in Italy
Programming and investment quotas in favour of ‘European works’ are an important element of the audiovisual ‘cultural policy toolkit’ in Europe. In reasserting their role, the revised 2018 Audiovisual Media Services Directive (AVMSD) has updated these rules in response to the rise of transnational video-on-demand (VoD) services across the continent. This article examines why and how Italy embarked on a reform of its domestic regime on quotas in 2017, in parallel with the revision of the AVMSD. It shows that Italian policy-makers sought to adopt a system of quotas that was far more stringent than the one previously in force and that also departed from the EU approach in significant ways. The evidence presented here shows that while national broadcasters managed to get the government to water down its initial proposals, Netflix and the other VoD providers were not involved in the formal discussions with the government until at late stage and were unable to shape policy outcome to their advantage. We argue the Italian case is a prime example of the continued commitment to quotas as a core element of the audiovisual cultural policy toolkit seen across Europe.
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