Figure 3. Gender balance in MEDIA grants 2020

The Commission launched a preparatory study in 2020 to identify the main environmental challenges for the audiovisual industry across the value chain and analyse the biggest impacts in each area. The study was commissioned from Philipp Gassmann, an expert in green film production. This study, Greening the European Audiovisual Industry - the Best Strategies and Their Costs, highlighted the need to foster cooperation and exchanges among Member States and stakeholders.

Later in the year, in Europe’s Media in the Digital Decade: An Action Plan to Support Recovery and Transformation (see more detail on p. 23), greening was addressed in Action 6 ‘Towards a climate-neutral audiovisual sector’. The Commission will join forces with the industry, as well as with (sub-) national film and audiovisual funds, with the objective of sharing existing best practices and agreeing on common tools and green standards.

In the new Creative Europe MEDIA Programme a progressive approach was decided on to transpose the greening priority into the practice of the Calls. In several schemes applicants will as of 2021 be encouraged to submit sustainability strategies. This is not obligatory, but will be recognised in award criteria if they present evidence of their commitment to green solutions

TOWARDS DIVERSITY AND INCLUSION

In 2020 further steps were taken to support diversity and inclusion by promoting European cooperation on cultural diversity, including several working groups of Member State experts under the Open Method of Coordination (OMC groups), notably one on gender equality in the cultural and creative sectors. The study on gender gaps in the cultural and creative sectors was updated and published in September 2020. Cultural and creative sector organisations also met under the Voices of Culture structured dialogue to discuss gender balance in the cultural and creative sectors, publishing their report in February 2020.

In the audiovisual industry, MEDIA in 2019 supported the Association Collective 50/50, when they undertook a study on gender disparity among film critics. Film critics play are influential with audiences and in shaping the careers of women professionals. The study was released at the 2020 Berlinale.

Figure 3. Gender balance in MEDIA grants 2020

66.7 For a number of years MEDIA has been actively collecting data on the shares of women in key positions among the applications and grants awarded. This data shows that the Programme is overall performing above the industry averages and there is some progress. Nonetheless further efforts are needed: between 2014 and 2018, only 30% of applicants were women, whereas their success rate in the selections was above the average. The share of women who were legal representatives of applicant organisations in 2020 was 33.3% of applications and 34.2% of grants. This shows that there is no discrimination in the award of support, but that more can be done to encourage applications from women. The participation of women in MEDIA schemes is also uneven: over 50% of the participants in supported training schemes are women, but of 20 films chosen in the Selective Distribution support scheme, only six were directed by women. In 2020 efforts were focused on preparing a robust strategy for 2021-2027 and on design of an online awareness-raising campaign, CharactHer.

65.8

33.3 34.2 42.8 41.2

applicants beneficiaries

women men success rate