The consumption of audio-visual material in the EU: trends

What this chapter covers

Introduction: assessing the material available to researchers for the audio-visual industry – the data

Sources

Consumption: European trends

Household measurement: disposable income From telephony to television to computers to bundled services

Radio and wireless in the new wi-fi digital age Film, DVD, video and VOD

Consumption: national trends – an indication

EU national statistical agencies and the public–private divide

The future: a comment

Learning objectives

When you have completed this chapter you will be able to:

Identify various sources that can be used to assess the audio-visual consumer environment.

Outline the interweaving of interests in EU, national and corporate structures that impact on consumption.

Compare and contrast consumption across the range of products including television, radio, film, DVD and VOD.

Locate consumer policy developments at EU and national levels.

Discuss, at least in part, the relative differences between public sector and private sector industries and their impact on the consumption of audio-visual products.

Themes

Below you will find a simple statement or series of statements around the six themes. They should not be read as a given fact. They are more like hypotheses (see Chapter 2) which need to be proved, discussed, debated and then used in your own analysis of the subject. The ideas and approaches in this book are always to be considered with an open mind; this is important in university study and is what makes it distinct from pre-university study.

Diversity of media

The audio-visual industries have always been diverse in consumption across the European scene. This was partially due to technology and partially because of a divide between public and private sector control. Separating audio-visual habits into fixed activities such as television, film watching and radio listening is beginning to change. Convergence is occurring across the sector, and this is beginning to change consumer behaviour. Although convergence of consumer habits appears to be happening, diversity remains important in the EU and will remain so in the near future.

Internal/external forces for change

The audio-visual industry has been for most EU member states first in public control and then later in a mix with private sector control. Competition is keenly felt throughout all forms of consumption, even between the public and private sectors. The increase in channels and means of access to content is making the industry even more competitive for those engaged in its production and distribution. Although often seen in national terms, competition is increasingly trans-national and even global.

Complexity of the media

The historical development of the audio-visual industry and the various regulatory controls around it has been deep, wide and various (see Chapter 9). The most noticeable is the inclusion in recent years, following the downfall of the iron curtain, of Central and Eastern European states who are emerging from state control and censorship. This has allowed for an increased surge of consumer activity in these areas.

Multi-levels

Convergence of production and distribution and a trend towards a concentration of ownership of the audio-visual industries across the EU is taking place and is a major factor in the immediate future of the industries and in the response from consumers to their products. This is showing itself especially in the debate about the future of public sector broadcasting (see Chapter 10). The full impact of this on the consumer is yet to be seen. We are at present, it appears, in a transition period between the old (analogue) and the new ‘digital’ era in consumer behaviour.

European integrative environment

The EU has set out through the Television without Frontiers (EU, 1989, 1997) and Audiovisual Directives (EU, 2007a) and the Single European Market (1987–1993) (EU, 1987) a framework for company and corporate practice which the audio-visual sector needs to comply with. The audio-visual industries, although often nationally described, must now be seen as being part of the EU market as much as of the global or regional scene. Policies such as ‘right of reply’ and citizenship rights are now a part of the consumer scene. Moreover, albeit not yet a cohesive entity, an ‘EU consumer’ is being framed and at least measured like never before.

Cultural values

Despite the increasing impact of new technology in the sector, especially through new delivery systems, watching and listening remains an essentially national and local cultural exercise for the great majority of Europeans, whether for information, education or entertainment. Although this will change as the years unfold, as with content, the cultural dimension embedded in the industries remains in many ways beyond the medium, found in deeper social, political, historical and even ideological concerns for the communities that comprise the EU. All of these impinge on the EU consumer.

Essentials

In the early part of the 21st century EU consumers of audio-visual products are witnessing a period of transition. The former distinctions between the many audio-visual products such as film, television, video-cassette, computer games, music CD or DVD showing through a DVD player, are becoming blurred. Across the EU the older technologies such as telephony and television, which had already reached almost saturation level – east and west – are now converging through telecommunications.

There are growing signs that consumer behaviour is beginning to alter. The overall communication network is being invested in by consumers across the 490 million population of the 27 countries of the EU. In the west and in the north of the EU there is already considerable interest being shown in the Internet and new broadband technologies. To the east television and film screens are showing lively rises in audiences. The future of consuming may well be on the brink of a new digital age.