White paper on creativity - ebla center

Chapter 7The first figure which emerges from ananalysis of the sales of Italian filmsboth on the sell-through and rentalmarkets is the clear supremacy (evengreater than in other market channels)of US films. In this case, Italian filmshave a tiny market share. If we look atsell-through, the Italian classification ofthe 130 most sold films is dominatedby animation and fantasy films.Obviously this is because the US filmindustry is specialised in such genresand has little competition from Italianproducts. Moreover, the fact thatalmost half the films sold are of thiskind suggests that the sell-throughmarket is clearly influenced by thebehaviour of parents, who buy films towatch at home with their children.Figure 7.14 – Nationality of films in the Italian Top 130 sell-through home videos1 0 0 %9 0 %N az i o n alitˆ FilmTop130Italia3 2 % 4%7%8 0 %7 0 %60 %50 %40 %9 4 %89%AltroI t aUsa3 0 %2 0 %1 0 %0 %Source: our elaboration of Univideo data2 0 0 4 2005If we look in more detail at the Italianfilms in the list of the top-sellingproducts, we note that they occupy avery marginal position, since most donot even sell 30,000 copies a year (thesales threshold for entering the Top130). In fact only four films in 2004and eight in 2005 made it into the Top130.The situation improves, albeit onlyslightly, if we looked at the rentalmarket, on which US films have aleading but not quite so totallydominant role. Again Italian films havea marginal share. If we analyse theperiod 2002–2006, the classification ofthe 100 most-rented movies onlyincludes 8 Italian films. In this case,too, most domestic films do not evenreach 30,000 rentals. Unlike the sellthroughsegment, classic films aremuch less in demand than moviesrecently distributed in cinemas. Italianfilms in the Top 100 are mainlyWHITE PAPER ON CREATIVITY 182