Titel Kino 2/2001(2 Alternativ) - German Films

Prof. Dr. Julian Nida-Rümelin (photo © Dörflinger)
for Cultural Affairs and the Media
most European Union culture ministers, to push the case with
the Commission as well as within the European Parliament for
the need for European film to receive future public funding,
both as a national cultural treasure and a medium promoting a
European identity. In so doing, we are working on a European
alternative to mainstream cinema from Hollywood. I am
personally very keen to see the European Commission take
sufficient note of this within the framework of its regulations
governing competition.
To promote European cinema it is not just enough to provide the
film industry in the member countries of the European Union
with sufficient financial foundations. We must, at the same time,
make all efforts to increase mutual audience interest in films
from neighboring countries and, in so doing, give them more
opportunity in our cinemas. Along with this I also see the public
broadcasters airing European films in
prime time. Perhaps the European
Union’s television guidelines should also
contain the corresponding obligation
for public broadcasters to transmit
European films in the original language
with subtitles.
In this context I also consider important
the maintenance and continued
expansion of bilateral and multilateral
relations within the film industry. And not
just with our European neighbors but
world-wide. International co-productions
in particular should be made easier and
access to the relevant markets also
improved. This is why I am annoyed by
the recently introduced financial
regulations which unfortunately hinder
international co-productions rather than
promote them. I am very grateful to the
German Federal Film Board (FFA) for
organizing a symposium, together with
the Erich-Pommer Institute, on the effects
of the new financial regulations shortly
after they came into effect. After the
results have been evaluated I will, if
necessary, put forward proposals to the
Finance Minister for a more balanced
implementation.
Another important matter is the reform
of German copyright law. I am especially
personally concerned with finding a fair
compromise which suitably rewards the
creative contribution and also pays fair
due to the interests of the film industry.
Germany shall, in the future, also
become a more interesting location for
investment in film production.
A further main plank of my policy is to
improve foreign representation of
German films and, in so doing, their
export opportunities. To bring this about
I am keen to expand, on the one hand,
the role played by the Export-Union and
its financial basis, and on the other, the possibilities of strengthening
cooperation between the film and television industries in
making joint sales efforts, particularly at foreign markets.
The Goethe Institute could also play an important role in this
and I would very much like to improve its possibilities for
organizing German film weeks as well as its scope for special
activities to represent film abroad.
Prof. Dr. Julian Nida-Rümelin
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