Research & Policy
MakeAweSoMe!
EU Film
Art
Everything
The Experimental Study of Mixed Reality Reception by Young Audiences
Université Côte d'Azur
The Experimental Study of the Reception Practices of Content in Mixed Reality by Young Audiences
This report explores the relationship between cinema and Mixed Reality media technologies (XR - encompassing VR, AR, and MR), with a focus on how the hybridisation and convergence of these domains could enhance the attractiveness and competitiveness of European cinema.
This report explores the relationship between cinema and Mixed Reality media technologies (XR - encompassing VR, AR, and MR), with a focus on how the hybridisation and convergence of these domains could enhance the attractiveness and competitiveness of European cinema.
Reflection Document on Doing Research with Children and Young People
Universität Wien
Reflection Document on Doing Research with Children and Young People
Conducting research with people, despite their age, comes with specific ethical responsibilities for researchers. This report aims to reflect, collect and present a comprehensive summary of key factors and processes on conducting research with children and young people.
Conducting research with people, despite their age, comes with specific ethical responsibilities for researchers. This report aims to reflect, collect and present a comprehensive summary of key factors and processes on conducting research with children and young people.
Policy Brief on Perspectives of European and Non-European Cinema Professionals
Université de Liège
Policy Brief on Perspectives of European and Non-European Cinema Professionals
The European Film Industry (EFI) operates in a rapidly evolving global audiovisual landscape marked by intensified competition, shifting circulation patterns, and structural asymmetries.
The European Film Industry (EFI) operates in a rapidly evolving global audiovisual landscape marked by intensified competition, shifting circulation patterns, and structural asymmetries.
Report on International Understandings of the European Film Industry
Erasmus University Rotterdam, Université de Liège, Universidad Carlos III de Madrid and
The Framings and Strategies of Cinema Professionals - Report on International Understandings of the European Film Industry
The report examines the views of non-European film professionals, focusing on six non-EU countries regarding the European film industry (EFI) both generally and in terms of its presence in these six markets.
The report examines the views of non-European film professionals, focusing on six non-EU countries regarding the European film industry (EFI) both generally and in terms of its presence in these six markets.
Policy Recommendations
Scuola Superiore Sant’Anna, ELIAMEP
Policy Recommendations
Audiovisual and cinematographic works are multifaceted cultural assets. This report encapsulates the scientific output generated from Task 3.1, examining the EU and national policies and legal instruments regulating the activities involved in different stages of the filmmaking lifecycle.
Audiovisual and cinematographic works are multifaceted cultural assets. This report encapsulates the scientific output generated from Task 3.1, examining the EU and national policies and legal instruments regulating the activities involved in different stages of the filmmaking lifecycle.
Report on the LUX Audience Award & European Film Festivals
University of Jyväskylä
Report on the LUX Audience Award & European Film Festivals
The REBOOT project explores the competitiveness of the European film industry (EFI) and its diverse actors and stakeholders at various levels, from local to global, both in Europe and beyond.
The REBOOT project explores the competitiveness of the European film industry (EFI) and its diverse actors and stakeholders at various levels, from local to global, both in Europe and beyond.
Final Advisory Board Report
Universität Wien
Final Advisory Board Report on Project Findings & Recommendations
The aim of Deliverable D1.11 is to present the final insights and recommendations of the Advisory Board members regarding the REBOOT project's overall goal of enhancing the European film industry.
The aim of Deliverable D1.11 is to present the final insights and recommendations of the Advisory Board members regarding the REBOOT project's overall goal of enhancing the European film industry.
Report on Young People's Preferences
Universität Wien, University of Jyväskylä
Report on Young People's Preferences
The future development and competitiveness of the European film industry (EFI) depends on young people and their interest in film as an art form, cultural and social asset, commerce and economic activity.
The future development and competitiveness of the European film industry (EFI) depends on young people and their interest in film as an art form, cultural and social asset, commerce and economic activity.
Child-Friendly Film Industry
Universität Wien, Scuola Superiore Sant’Anna, Universiteit Gent and
Child-Friendly Film Industry
In Deliverable 5.6, we report the findings from literature and policy analysis, as well as focus groups conducted with young people aged 12 to 24 across nine countries, in order to examine the child-friendly European film industry.
In Deliverable 5.6, we report the findings from literature and policy analysis, as well as focus groups conducted with young people aged 12 to 24 across nine countries, in order to examine the child-friendly European film industry.
Original Scores
Université Côte d'Azur
Original Scores
Music is an essential part of the Film creation, and thus the creative process in music for the screen is one of the many factors involved in competitiveness. The aim of this report and of this study is to present how this process can be understood.
Music is an essential part of the Film creation, and thus the creative process in music for the screen is one of the many factors involved in competitiveness. The aim of this report and of this study is to present how this process can be understood.
Report on survey from FAMES
Université Côte d'Azur
Report on survey from FAMES
This report explores future trends for enhancing the competitiveness of the European Film Industry (EFI) across the dimensions of creativity, skills, and production, aiming to build a sustainable and competitive future for the industry and
This report explores future trends for enhancing the competitiveness of the European Film Industry (EFI) across the dimensions of creativity, skills, and production, aiming to build a sustainable and competitive future for the industry and
Governance and public value Report - Producing Value through the Moving Images: An Analysis of Publi...
Universität Wien
Governance and public value Report - Producing Value through the Moving Images: An Analysis of Public Value and its Cultural Contribution to the strength and competitiveness of the European film sector.
Beyond its clear economic value, the film industry holds significant social value. This is evident in the choices individuals make to engage with films, driven by the desire for entertainment, cultural enrichment, cross-cultural connection or personal reflection.
Beyond its clear economic value, the film industry holds significant social value. This is evident in the choices individuals make to engage with films, driven by the desire for entertainment, cultural enrichment, cross-cultural connection or personal reflection.
Comparative analysis report on national film agencies
Universidad Complutense de Madrid, University of Warsaw, University of Jyväskylä
Comparative analysis report on national film agencies
This report explores the transformation of the national film agencies in Spain, Poland and Finland with special regard to the implementation of national and EU film policies, their impact and adaptation to the national contexts and how these relate to the concepts of “European” and “competitiveness” over the last 25 years
This report explores the transformation of the national film agencies in Spain, Poland and Finland with special regard to the implementation of national and EU film policies, their impact and adaptation to the national contexts and how these relate to the concepts of “European” and “competitiveness” over the last 25 years
Cross-national report on European VOD platforms
Universidad Complutense de Madrid, University of Warsaw
Cross-national report on European VOD platforms
The rapid growth of the VOD market has been a key aspect in the transformation of the European Film Industry (EFI) in the last decades. This report addresses this phenomenon and focuses on the recent examples provided by Spain and Poland, where two important national industries have developed especially in the last 15 years as part of the transformation of a still very diverse European market.
The rapid growth of the VOD market has been a key aspect in the transformation of the European Film Industry (EFI) in the last decades. This report addresses this phenomenon and focuses on the recent examples provided by Spain and Poland, where two important national industries have developed especially in the last 15 years as part of the transformation of a still very diverse European market.
REPORT on “International Market” in the European Film Industry
Université de Liège
REPORT on “International Market” in the European Film Industry
In the current global audiovisual landscape, the concept of competitiveness has gained growing prominence in European policy agendas. Competitiveness is often invoked as a guiding principle for funding schemes, international promotion strategies, and industrial frameworks.
In the current global audiovisual landscape, the concept of competitiveness has gained growing prominence in European policy agendas. Competitiveness is often invoked as a guiding principle for funding schemes, international promotion strategies, and industrial frameworks.
Public Database on EU laws and cross-national frameworks
Scuola Superiore Sant’Anna, Université de Liège, Erasmus University Rotterdam and
Public Database on EU laws and cross-national frameworks
This deliverable offers an overview and description of the structure and contents of the public database on ‘European Union (EU) laws and cross-national frameworks relevant to the European Film Industry (EFI)’.
This deliverable offers an overview and description of the structure and contents of the public database on ‘European Union (EU) laws and cross-national frameworks relevant to the European Film Industry (EFI)’.
Final report on the mapping and EU law of institutional models for the promotion of the EFI
Universität Wien, ELIAMEP, Université de Liège and
Final report on the mapping and EU law of institutional models for the promotion of the EFI
This report examines EU film promotion by states and EU policies. It highlights the need for stronger gender equality support in the audiovisual sector.
This report examines EU film promotion by states and EU policies. It highlights the need for stronger gender equality support in the audiovisual sector.
Recommendations on innovation for European film creators
Universität Wien, Universiteit Gent
Recommendations on innovation for European film creators
In the context of analysing the competitiveness of the European film industry related toTask 3.3 “Lived practices, principles, cultural institutions and the ‘fringes’ of filmmaking and consumption”, it is crucial to examine what is known as the fringes of film and the creative industries, as these often represent untapped or underexplored sectors that have the capacity to impact on the overall dynamics of the industry. For the purpose of this report, three communities are taken into consideration, as outlined in Task 3.3, which includes for six EU member states (Austria, Belgium, France, Greece, Poland and Spain): women, youth and migrants in relation to their positioning within the film industry and their connection to the fringes.
In the context of analysing the competitiveness of the European film industry related toTask 3.3 “Lived practices, principles, cultural institutions and the ‘fringes’ of filmmaking and consumption”, it is crucial to examine what is known as the fringes of film and the creative industries, as these often represent untapped or underexplored sectors that have the capacity to impact on the overall dynamics of the industry. For the purpose of this report, three communities are taken into consideration, as outlined in Task 3.3, which includes for six EU member states (Austria, Belgium, France, Greece, Poland and Spain): women, youth and migrants in relation to their positioning within the film industry and their connection to the fringes.
Lessons from the past. European film industry looks back at thirty years of changes, challenges, and...
Universidad Complutense de Madrid, Universiteit Gent
Report on European film industry
Ghent University and Complutense University of Madrid examined the European film industry's (EFI) evolution over the past thirty years as part of the broader European REBOOT project. Using oral history methodologies, they conducted 68 interviews with senior professionals from various segments of the industry, focusing on the Belgian region of Flanders, Spain's major film industry, and broader European trends.
Ghent University and Complutense University of Madrid examined the European film industry's (EFI) evolution over the past thirty years as part of the broader European REBOOT project. Using oral history methodologies, they conducted 68 interviews with senior professionals from various segments of the industry, focusing on the Belgian region of Flanders, Spain's major film industry, and broader European trends.
Competitiveness in European law
ELIAMEP, Université de Liège
Report on Competitiveness in European law
This report examines the development and evolution of the European Union’s action in the film and broader audiovisual sector. It assesses the ways in which the EU has approached, defined and sought to promote the ‘competitiveness’ of its audiovisual sector and the European film industry (EFI), taking into account the evolving technological context and other significant changes that have taken place.
This report examines the development and evolution of the European Union’s action in the film and broader audiovisual sector. It assesses the ways in which the EU has approached, defined and sought to promote the ‘competitiveness’ of its audiovisual sector and the European film industry (EFI), taking into account the evolving technological context and other significant changes that have taken place.
Unlocking the Power of Youth in European Cinema
University of Jyväskylä
Report on Young Audience Award
The report is based on a case study of the Young Audience Award(YAA), coordinated by the European Film Academy.The Academy has awarded YAAs to European films since 2012. The awarded films are annually selected by 12–14 - year - old audiences across Europe from three films preselected by film experts.The Academy and the YAA are supported by the European Commission through its Creative Europe programme.
The report is based on a case study of the Young Audience Award(YAA), coordinated by the European Film Academy.The Academy has awarded YAAs to European films since 2012. The awarded films are annually selected by 12–14 - year - old audiences across Europe from three films preselected by film experts.The Academy and the YAA are supported by the European Commission through its Creative Europe programme.
Pathway to the Operationalisation of the Common European Data Space for Cultural Heritage: Unravelli...
Scuola Superiore Sant’Anna
Launched as a Union initiative in 2021, the Common European Data Space for Cultural Heritage (hereinafter ‘CEDS for CH’ or ‘CH data space’) is aimed at accelerating the digitisation, online availability and digital preservation of European cultural assets that form the cultural heritage (hereinafter ‘CH’) of the EU Member States and play an important role in establishing a common European identity.
Engagement and Inclusion of Young People in the European Film Industry
Universität Wien
Young people are the future of creativity and innovation in the European Creative Industries; their perspectives and talents have the potential to rejuvenate and reshape the European film industry (EFI). The involvement of youth in the EFI is not only beneficial, but also crucial for ensuring relevance and dynamism of the EFI in storytelling.
Developing young people’s Engagement with European Cinema via the Youth Audience Award
University of Jyväskylä
The European Film Academy’s Young Audience Award (YAA) is an important film prize that deserves wider recognition and appreciation among diverse audiences, filmmakers, producers, educators, and policymakers.
Fostering 'competitiveness' and 'cultural diversity' in the European film and audiovisual sector
ELIAMEP, Université de Liège
The European Union (EU or the Union) has sought to promote the ‘competitiveness’ of its audiovisual sector and the European film industry (EFI), which are situated at the intersection of the economy and culture, taking into account the evolving technological context and other significant changes that have occurred over the years.
Developing the EU Film Festival into a two-way event with a clear international cultural relations a...
University of Jyväskylä, Erasmus University Rotterdam, Kadir Has Üniversitesi
To explore the different rationales and organisational challenges behind the EUFF, we conducted a combined desk research and qualitative content analysis of interviews with EEAS officials and EUFF organisers in eight non-EU countries that hosted the festival in 2023, namely Argentina, Canada, Chile, Indonesia, the Republic of South Africa, Türkiye, the United Kingdom and Vietnam. The desk research data consisted of various grey literature, such as communications, reports and festival catalogues, and feedback responses from festival organisers in 27 countries collected by Cineurope in 2023. The research also included an analysis of the content of the most screened films and the ways in which they represented cultural diversity and other EU values. Finally, the results were explored vis-à-vis the EEAS's approach to strategic communication.
Pathway to the Operationalisation of the Common European Data Space for Cultural Heritage: On the In...
Scuola Superiore Sant’Anna
The CHDS constitutes a landmark initiative in the EU cultural and digital policies and agenda since the adoption of the Lisbon strategy in 2000. This strategy launched the transition of the EU into a knowledge-based society and data-agile economy in parallel to a wave of digitisation endeavours targeting European CH assets (Communication COM(2001) 140 final Communication COM(2002) 263 final).
The Circulation of European Films in Latin America: Focus on Major Markets and Box Office Performanc...
Universidad Carlos III de Madrid
Latin America is a key region for the European film industry due to its strong cultural, historical, and linguistic ties to Europe, particularly with Spain and Portugal, and, to a lesser extent, France, Italy, Germany, and Netherlands. The region also plays a vital role in the global film market, hosting prestigious international film festivals and representing some of the largest markets worldwide in terms of admissions numbers. Despite these connections, several barriers hinder the circulation of EU films, including regulatory challenges, and the overwhelming dominance of Hollywood blockbusters in the region. This policy brief is based on a study conducted in the REBOOT project aimed at examining the views of international film professionals towards the European Film Industry (EFI) in six international markets.
Lessons from the past: European film industry looks back at thirty years of paradoxes
Universiteit Gent, Universidad Complutense de Madrid
As part of the broader European REBOOT project, researchers from Ghent University and Complutense University of Madrid examined how senior professionals in the European film industry (EFI) look back at thirty years of changes. While the important Nostradamus reports (see Koljonen, 2023, 2024) tend to glance in the future of the industry, this research looked backwards: it covers the trends, tensions, and paradoxes in the development of the EFI over the past thirty years.
Public value as a factor of competitiveness of the European film industry: insights from six Europea...
Universität Wien
The film and audiovisual sector in Europe has long been shaped by public policies aiming at supporting and protecting the EFI, primarily due to the dominant market position of Hollywood and the economic challenges faced by national film industries. European public authorities are driven by the need to address cultural and political concerns about image production and distribution (European Audiovisual Observatory, 2004).
Framing AI Legal and Ethical Frontiers in the European Film Industry
Universität Wien
The Film industry is undergoing further technological transformation with the development and implementation of Artificial Intelligence (AI) into every stage of filmmaking: from concept development to distribution, AI is redefining not only practices, but also possibly notions of authorship, ownership and artistic labour. AI use raises questions for the protection and recognition of human creativity, regulatory implications and furthermore crucial ethical questions for expression, authenticity, truth and connection in European film. This evolution offers on the one hand immense opportunities for efficiency, innovation and market expansion, but on the other hand it also raises structural and normative challenges that test the resilience of Europe's cultural and regulatory frameworks. The European Union has taken a leading stance in AI governance through the GDPR, the AI Act, and the Digital Single Market Directive, yet the scope and translation of these frameworks into the creative industries remains incomplete and uneven. If guided by a coherent common policy vision that integrates legal certainty, ethical responsibility and cultural inclusivity, AI can become not a threat but a catalyst - enhancing creativity, empowering artists and positioning the European film industry as a global exemplar of responsible innovation.
Children's Rights in the Digital Era: Take-Away Policy Recommendations for the Film Industry
Scuola Superiore Sant’Anna
According to the United Nations Convention on the Rights of the Child, in fact, the so-called principle of the best interest of the child shall be considered as a priority in all activities engaging minors (Bianca, 2021; Lamarque, 2016; Zermatten, 2020; Breen, 2002). In this regard, we took the challenge to verify the extent of existing provisions aiming to govern the digital dimension of the film services and products offer, in order to promote children's rights by addressing tailored interpretations of mechanisms, where children might be considered either as potential users or as actual ones (Nurhaqiqi - Kalaloi, 2025). In the investigated film industry, indeed, children are both consumers and users of new (mainly digitalised) tools to enjoy products, offered through (or accompanied by) digital services, possibly including the support of systems based on artificial intelligence for several purposes: from the contents creation and delivery, to the marketing strategy (Fortuna, Patti, 2025). In this regard, the role of the comparative legal analysis focuses on addressing the principles stated within the EU Regulation 2016/679 on General Data Protection Regulation (GDPR), the EU Regulation 2022/2065 on Digital Services Act (DSA) (Chander, 2023; Husovec, 2023), and the EU Regulation 2024/1689 on Artificial Intelligence (AIA) (Rebrean, Malgieri, 2024) with the lenses of Children's Rights, in order to contribute to define appropriate safeguards and set child-friendly boundaries to an everyday more digitalised audiovisual market.
Streaming Services and the Competitiveness of the European Film Industry in Europe and Latin America
Erasmus University Rotterdam, Université de Liège, Universidad Carlos III de Madrid
Streaming services, including VOD (i.e. Netflix, Prime Video) and video-sharing service providers (i.e. YouTube), have become key gatekeepers in the international circulation of audiovisual content, reshaping how films are produced, distributed, and consumed. Their rapid expansion poses significant governance challenges for European policy-makers, particularly regarding the competitiveness of the European Film Industry (EFI) and the achievement of EU cultural and industrial policy objectives.
Developing the Outreach and Impact of European Audience Film Awards
University of Jyväskylä
Film awards are an essential component of the film industry. They indicate a film's quality and success and reflect the preferences of the awarding authorities, who are typically established film professionals. Thus, awards are often considered an important factor when evaluating the competitiveness of films and the European film industry as a whole. They are also a means by which the authorities govern the industry, impacting the notions and perceptions of quality and novelty in the sector. However, awards presented by established professionals may distance the public from the award process and disregard their preferences. Nevertheless, the public can engage with the film industry and the negotiation of good films through audience film awards. Moreover, such awards have the potential to increase the visibility and audience of nominated and winning films, strengthening their competitiveness. The broader the audience engaged, the greater the positive impact. The European Union (EU) and the European Film Academy have recognised the potential of audience film awards, as demonstrated by the LUX European Audience Film Award and the Young Audience Award (YAA). Both awards are based on a broad, transnational audience vote for the best film. There are no other such broad, transnational audience film awards in the world.
Towards a Unified European Policy Framework for Cinema/XR Hybridization
Université Côte d'Azur
This policy brief argues that the hybridization of cinema and XR is a strategic opportunity for Europe, which is not yet sufficiently addressed by the existing policy frameworks. Although artistic experimentation and institutional recognition for emerging artists have increased, most public funding schemes and governance infrastructures continue to prioritize linear, screen-based film productions. Grounded in empirical research carried out by the REBOOT project, this work highlights the fragmentation, misalignment and imbalance of the European approach to cinema/XR hybridization in relation to existing eligibility criteria, cultural tests and mainstream funding schemes across diverse European countries.
The European Union as an Enabler of International Film Relations
Erasmus University Rotterdam, Université de Liège, Universidad Carlos III de Madrid and
The cultural action of the European Union (EU) beyond its borders is framed by the Joint Communication Towards an EU Strategy for international cultural relations (ICR), which places long-term trust-building through mutually beneficial and equal cooperation (not only among professionals but also with audiences) at the core of the EU's global cultural action. However, the practical ties between this policy and initiatives to support the film industry – European and otherwise – beyond the EU's borders remain incipient. An exception lies in the annual European Union Film Festivals (EUFF), although REBOOT's research also shows that there is scope to strengthen EUFF's ties with ICR. At the same time, European and non-European film professionals repeatedly call for increased opportunities to exchange knowledge, co-produce, and better engage with their audiences, echoing the principles behind the ICR framework. This policy brief makes policy proposals to strengthen the links between the EU's film policy, both internal and external, and the EU's International Cultural Relations. This would strengthen the impact and sustainability of both policies, maximising public investment, and reinforce their ability to respond to the needs of film professionals in Europe and beyond. At the same time, it would also support the production and distribution of independent film in Europe and abroad, increasing the circulation of unique stories that reflect multiple world views.