Panel conclusions,
by Giorgio Gosetti (General Delegate of Giornate degli Autori)
Summarising when you arrive late is a delicate exercise, but I believe that beyond the constraints of time, we must ask ourselves a central question. While it is true that policy and regulation generally follow market developments, it is now imperative to have a legislative framework capable of responding to the concrete reality of this market. On this point, we are lagging behind in almost all countries.
On the other hand, we are seeing European players becoming increasingly assertive. The private groups that have formed are now capable of negotiating convincing results on an international scale, measuring themselves against other cultures and nations.
Since we are at Eurovisioni, I would like to raise a fundamental issue for the future: that of cultural content and the rhythm of language. Beyond Europe’s linguistic diversity, are we capable of offering a rhythm of expression that is commensurate with our cultures? I am thinking of works such as The Count of Monte Cristo, which manage to address different traditions and countries while being both perfectly understandable and deeply original.
We are seeing more and more European productions on the international stage that stand out clearly from other models, backed by solid capital and financing. If we continue along this path, we will be able to take up another exciting challenge: that of supporting local cultures and identities. The history of cinema has shown us that what is local can become universal; the challenge is knowing how to make this connection.
It is now essential to ask the European industry to work pragmatically. It is not just a question of displaying a few famous names, but of using the power of film-making to impose cultural interest. For example, if a series is produced about the Medici family, even a distant audience such as the Chinese can be interested in it thanks to the power of the staging, as is the case with the works of Alexandre Dumas or other national references. Sometimes this even works with darker realities: Italy has the Mafia, a subject so local that it has become a highly effective international export.
All these elements can give European products considerable voice and strength in global markets. As a viewer and citizen, I expect only one thing from European legislation: that it recognises that when audiences express demands, they are often asking for what they have been taught to consume. Are we capable of keeping markets open enough to inspire new aspirations in the public, rather than simply following marketing forecasts? International marketing is now much more powerful than that of European audiovisual products. It is this weakness that we must urgently reflect on.