White paper on creativity - ebla center

Chapter 7in this situation is France: it is the non-English speaking country whichcontinuously achieves the best resultson non-domestic European markets.The situation in ItalyAfter surveying the European situation,we now wish to focus on the Italianfilm market (see Table 7.1.Table 7.1 – The Italian situation (2000-2005)Year 2000 2001 2002 2003 2004 2005Admissions(in thousands)97,819 105,538 103,768 98,037 112,903 102,464Box office receipts(thousands of 515,708 561,948 583,278 549,063 645,787 515,708euros)Averageadmissions 1.70 1.85 1.82 1.71 1.95 1.75per inhabitantNumber ofscreens xxxiv 2,948 3,112 3,353 3,566 3,610 3,794Average ticket price(euros)Source: our Elaboration of MEDIA Salles data5.27 5.92 5.62 5.60 5.72 5.75Summarising, we can say that thesituation of Italian cinemas ischaracterised by growth in terms ofboth box office receipts andadmissions. Growth is less, however,than that recorded for the otherprincipal European markets (especiallyFrance) and means that Spain hasovertaken Italy in terms of film-going.In greater detail, we see that overalltickets sold rose by around 5%,although there were also some cases ofslight dips in 2002 (-1.7%), 2003 (-5.5%) and 2005 (-9.5%). Box officeproceeds increased in percentage terms(+14%) more than admissions, but thiswas mainly due to an increase in theaverage price of tickets (around + 10%)and not the average admission perinhabitant (only about +3%). Lastly,the number of cinema screens rose byaround 28%.The second topic we wish to deal withis the seasonal nature of film-going. Wehave tried to check if this is a realphenomenon or only a kind of selffulfillingprophecy. An initial analysiswould seem to confirm the existence ofa seasonal effect, since films released inthe time window of the high season(see Tables 7.2 and 7.3) attract biggeraudiences, on average statistically largerthan those for films distributed duringthe rest of the year.WHITE PAPER ON CREATIVITY 171