On Tuesday, the Council of Ministers approved sending the draft law on cinema and audiovisual culture to parliament, as well as requesting its parliamentary processing through the urgent procedure. The new text fit the current standard 15 years ago and “Mostly” allocates help to independent producersamong other measures, as reported by the Ministry of Culture and Sports.
The department headed by Mikel Isetta ensures that the bill maintains the definition of an independent producer that is “demanded by the sector”. Thus, a natural or legal person who carries out the cinematic or audiovisual activity will be considered an independent producer if he complies Two conditions.
On the other hand, the fact that it is not majority owned by a company with non-EU capital, and is not dependent on it based on its executive bodies, shareholders, decision-making capacity or business strategy.
On the other hand, the majority is not owned by an audiovisual communications service provider, telecom group or public capital, whether they have a community character or not, and is not dependent on them based on their executive bodies, shareholders, decision-making power or business strategy. . These same requirements are also maintained by independent international sales agents.
The bill asserts that calls for aid will be “mostly” reserved for independent producers.
In general, it stresses the need for public assistance “capable of promoting all aspects of audiovisual” ·. In the title of the law is understandable audiovisual culture Along with “cinema”, he understood that cinematic activity and audiovisual activity form a unit that integrates the specifics of the various means of exploitation and dissemination of audiovisual works.
As new, the law states that the Cinematography and Audiovisual Protection Fund will always reserve a “significant” percentage of its endowment for cinematic activity, even if it includes other forms of audiovisual, such as a series.
The regulation pays special attention to true equality between men and women, through specific reserves in endowments for various help lines. for example, Reserve 35% of the production assistance grant provided by women With aid orders, it is now an obligation in law that all production aids must comply with.
In addition, it was implied that the Spanish Film Library will adopt initiatives aimed at Highlighting women’s work and role In the Spanish cinematic and audiovisual heritage.
Screen share (the percentage that exhibitors have to reserve for national and European films) drops from 25% to 20%, and includes Latin American films and films directed by women.
In order to access assistance for feature films and distribution, the incorporation of access systems will be a requirement. Businesses aspiring to be recipients of public assistance must comply with a reservation quota for jobs for people with disabilities, if applicable.
It also includes the obligation to comply with the conditions of universal access in the film gallery, and at the same time proposes an improvement in the Spanish Film Library in the accessibility of the publication of cinematic works.
The origin of cultural interest
Spanish Film Library qualified as Culturally Significant Assets (BIC). In addition to contemplating the creation of a specific aid for the preservation of the audiovisual heritage, it decides that recipients of public aid must deliver to the Spanish Film Library the materials necessary for the best preservation of the heritage.
Also, it collectsEstablishment of the State Council for Film and Audiovisual CultureWithin six months of the entry into force of the law. “It is a tool for dialogue, communication and collaboration in the field of cinematography and audiovisual culture,” according to the Ministry of Culture and Sports.
The body consists of representatives of associations and organizations of sectors, the state, regional and local administrations, and distinguished members.
The text stipulates that audiovisual communication service providers (platforms) announce data for showcasing audiovisual works, just as exhibition halls do. It will be the system’s post-organizational organization that determines the temporal, geographic, and business volume of viewing data provision.