Annualreport

EuropeanWomen’sAudiovisual(EWA)Network

2015

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TableofcontentsI.Introduction 5 II.Training 7 Multiplerevenuestreamtrainingforfuturefilms 7 Skills-basedtrainingcourses 9 Coaching 9 III.Research/Advocacy 11 EWAResearchproject 11 Advocacyupdate 12IV.Outreach 15 Members 15 Ambassadors 15 Women’snetworksandfestivals 16V.Communication 19 Visibilityofnetwork 19 VI.Staff 19VII.Fundraising 21VIII.Conclusionandnextsteps 23Appendices 25Appendix1–Calendarofactivities2015 25Appendix2–Calendarofactivities2016 27Appendix3–Multiplerevenuestreamtrainingforfuturefilms 29Appendix4–“WherearethefemaledirectorsinEurope?”–Researchprojectoutline 35Appendix5–EWA’steam,ambassadors,bureauandspecialadvisors 37Appendix6–Sarajevoconferencedeclaration 41

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I.IntroductionByFrancineRaveney,Director,EWANetwork

After the positive energies and dynamism invested in rebranding EWA andensuring its European angle, 2015 was a time for the network to furtherconsolidate and grow.We are especially proud to nowhave an office at theShadok co-working space in Strasbourg, which is vibrant and dynamic andwherewehopetohosttrainingcoursesandconferencesinthefuture.AsagreedattheJanuary2015AGM,thesystemofambassadors(seeAppendix3)wasstrengthenedtoassistwithoutreachinthedifferentEuropeancountriesand the three axes of work were further honed to remain the focus of ourenergies: training; research/advocacy and outreach. Alongside thedevelopment of these three angles, ongoing fundraisingwas carried out andthecommunicationworkandoutreacheventscontinuedtotakeplace.Themanner inwhich these areasdevelopedwill bedetailed in the followingsections,inparticularthesuccessfulapplicationsforthesecondeditionofthetraining funding fromCreative Europe (section II)andthe finalisationof theEWAresearchproject(sectionIII).Intermsofoutreachwecontinuedtopublishtheonlinenewsletterandanewaudiovisualmagazine, “The AudioVision” on a quarterly basis. Updates weresentout tomembersandoutreacheventswereheld in locations throughoutEuropeandbeyond.WealsoheldtrainingsessionsinIstanbul(April)withthehelpof theVice-President,ZeynepÖzbaturAtakan,and inTelAviv (July–viaSkype throughour ambassador for Israel,NoaCacharel), andmanymeetingswereheldwithaviewtogatheringandanalysingdatafortheresearchproject.In addition to meetings with film funds throughout Europe, four researchworkshopswere held, two in London (March, September), one in Strasbourg(April)andoneinParis(December).WeheldtheannualEWAnetworkingevent inCannes inpartnershipwiththeHAVC. Other outreach events were held in London in March with the ReelAngels (female crew agency) at the Genesis Cinema, in Venice film festival(wherewepresentedfirstfindingsoftheresearchstudyatapressconferencealongside Silvia Costa) and Locarno, (August) where the EWA directormoderated and helped organise a large panel event with over 200 industryprofessionals.EWAwasalsoinvolvedwiththeSarajevoconferencedeclarationongenderequalityinthefilmsectorthatwasadoptedon14August2015and

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the Director was invited to speak at the Lux Prize (European Parliament) inDecember at apanel event alongsidenumerousMEPs, SilviaCosta andDorisPack with over 70 journalists in the audience. Alexia Muinos Ruiz, DeputyDirector) represented EWA at Piran festival in Slovenia (September), and atSevillefilmfestival(November)withIsabelCastro,inadditiontoVenice.AlessiaSonaglioniand IsabelCastrobothattendedAntalya filmfestival inDecember.SoEWAwaswellrepresentedthroughoutEuropeatmanyevents.Against the backdrop of ongoing financial and staffing limitations, severalBureau members provided extra invaluable help, including Isabel Castro foroutreachhelpinSevilleandelsewhere, includingwiththeideafordevelopingan advisory board (extra funding support) and providing budgetary advice;ZeynepÖzbaturAtakanforoutreachworkinTurkey(AntalyaFilmFestivalandtraining course), aswell as Isabel de Ocampo for her role in Spain (Valenciaconference and several radio talks). Nicholas Raveney continued his role asEWA’sSecretaryandmadeabigcontributioninkeepingtheprojectafloat,notleastthroughhissupporttotheDirector,especiallywhenshewasillafterthesummer. SusanNewmanhasprovidedan invaluable fountof industry insiderknowledge and contacts. Paula Ortiz has been concentrating on her filmprojects, but thesewill no doubt reflectwell on EWA in 2016 – her film “LaNovia”wasreleasedtogreatcriticalacclaimattheSanSebastianFilmfestival.Finally the team’s support staff, especially Alexia Muinos Ruiz (DeputyDirector/Web & Comms), Holly Aylett (Project Manager Research), PatriciaMolina(ProjectManager:Outreach),AurélieGrenet(Consultant)SarahHurtes(magazine editor) and Cecilia Johnson-Ferguson (office support) have allprovided invaluablesupport inkeepingtheprojectontheroad intowhatwillnodoubtbeitshighlysuccessfulfourthyear.

II.Training Multiplerevenuestreamtrainingforfuturefilms(MRS4FF)The details of and rationale behind this course are set out in Appendix II.Essentially, it uses new technologies to equip producers and content creatorswiththeskillsrequiredtomarrypublicandprivatefinancing,developaudiencesand ensure different forms of distribution: online, traditional etc. Threeworkshopshavebeenheldforthefirsteditionin2015,includingoneinGlasgow(26-28June2015)–WhiskyBond–co-workingspace;oneinAmsterdam–EyeInstitute (23-25October 2015) and one in Barcelona, SGAE Foundation (22-24January2016).In many ways the course is building on the experiences EWA gleaned duringPitcher Perfect 2013 (October, Barcelona) and the Istanbulworkshops in April2014 and April 2015: for example, workshops have lasted three days fromFriday-Sunday; they are extremely intensive, reasonably priced and focus onpersonal development. Participants especially appreciate the intimate andfriendlyenablingatmosphere.MRST4FFguidesproducersthroughtheessentialsteps for making their project a success, from crowdfunding, viral marketing,creationoftrailers(W1)topitchingtocommercialsponsorsandoutreachwiththese sponsors (W2), to ensuring business models include public and privatefinancingandwell-thought-outdistributionstrategies(W3).ThefirstworkshoptookplaceinGlasgowon26-28JuneattheWhiskyBond,aco-working space offering an inspiring location hosting sculptors, musicproducers and new labels and start-ups. Thisworkshopwas a great start andtook participants (content creators, producers & documentary directors) from15 countries throughmarketing strategizing, audience-buildingphilosophy andgetting theirhandsonhow todesign tailor-madecrowdfunding campaigns fortheir projects. Tutors and trainers included: Emily Best from Seed and Spark,Andy Green and Kobi Shely from Distrify Media, Miranda FlemingfromIndiegogo, Holly Aylettfrom Birkbeck College, Sonia Mariaulle, a director intrailermoviemaking,SonjaHenricifromtheScottishFilmInstituteandFrancineRaveney(co-productions).Francine Raveney designed the overall content of the workshops (identifyingspeakers and structure) as overall ProjectManager, assisted byAlexiaMuinosRuiz(asassistantprojectmanager)andincollaborationwithAurélieGrenetasa

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consultantonthisandotherprojects.Aurélie liaisedwiththetutors,organisedtravelandthemonthlyassignmentsbetweenworkshopsandcarriedoutotherduties (finding restaurants/negotiating catering rates and conference roomrentalprices).It is also worth mentioning that Creative Europe invited EWA’s Director topresent the MRST4FF course during the Creative Europe/Media days at theBerlinale(RitzCarlton)onMonday9February2015toalargeaudience.CreativeEuropewereimpressedbytheinnovationofthecourse,marryingasitdidnewbusinessmodelsandacommonsenseapproachtoexistingsourcesofEuropeanpublicfinancing,theflexibleteachingarrangementsandthefactthat itrelatedsocloselytocurrentindustryneeds,i.e.payingattentiontobuildinganaudienceandfindingfinancialsupportbeyondtheusualborders.ThepresentationattheBerlinale was a resounding success and was attended by all of the MediarepresentativesfromthroughoutEuropeandmanyotherexperts.ForWorkshopOne aMedia representative from Finland attended and forWorkshop Two aMediarepresentativefromCentralCreativeEuropedesk(Brussels)attended.While we are often modest about the network’s achievements, it should benoted that Creative Europe has not only awarded EWA €60 000 for thisparticularcoursetogoahead,buthasalsoconfirmedtheirsupportforasecondedition of the MRST4FF course, so €120,000 to run a training course over2015/2016.We very much hope that this next edition with workshop two inStrasbourg will attract more regional producers, content creators anddocumentary directors. The Ville de Strasbourg are also keen to organise anopeningsessionforoneortwodaystotie inwithworkshoptwoinStrasbourg2016. EWAwillencourageallofthoseinvolvedinthenetworktoapplyandencouragepotential participants to apply, especially from France and Italy. The secondeditionofthecoursewillbeopento15producers/contentcreatorsandwillcost€2000fortwo4.5-dayworkshops,includingaccommodationandfood,andthisfee will also include feedback from the monthly assignments betweenworkshops.Itwillbeopento13Europeanproducersandtwonon-EUproducersandtwoscholarshipswillbeofferedfromEWA.Theworkshopswillbeorganisedin twodifferent locations:Pisa, Italy (22-26 June2016)andStrasbourg,France(23-27November2016).Wewillreserveacoupleofplacesforproducersfromeachofthese locations.Asmentionedaboveweespeciallywantto invite localandregionalFrenchproducers,contentcreatorsanddocumentarydirectors toattend this round of the course. In 2015 only one French producer hasparticipated:ChloéGosselin,agraduateofLaFémis.However,acrosstherestofEuropetherewasbalancedrepresentation.

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FormoreinformationonEditionTwoofMRST4FFpleaseseeAppendixII. Skills-basedtrainingcoursesIn 2015 EWA ran two skills-based training courses. One was the “Businessstrategies for film production” course held in conjunction with ZeynoFilms/Yapim Lab (Zeynep Özbatur Atakan) in April 2015 in Istanbul. Thisexceptional coursewasheld ina fabulous locationoverlooking theBosphorus,Opera Hotel, which no doubt helped to render the course so successful inaddition to thephenomenal support fromZeynep’sdynamic team.ThecoursecombinedcontributionsfromTurkish,FrenchandUKexpertsandinvolvedover30participants includinganumberofEWAmembers.FrancineRaveneytaught“HowtoapplytoCreativeEuropeandEurimages”onthiscourse.InJulyEWA’sDirector,FrancineRaveney,taughtattheAnnualInternationalFilmFinancing&MarketingCourseinTelAviv.Thecourseincludes7weeklysessions,eachone3hourslong,withleadingexperts. CoachingSince endNovember 2014, EWAmembers have been offered online coachingwithAlessiaSonaglioni– see report (sent to thebureauearlier last year). Thiscoaching option was advertised in the “AudioVision” magazine and via amailshot. The first session is free of charge and so far over 50members havebenefited from Alessia’s coaching, ranging from an Austrian scriptwriter withlegal questions on option contracts with the UK, a German director trying tofundraise for her first feature and many other questions about projectdevelopment.Alessiaisnotonlyatrainedcoach,butshehaslegal,filmfinancingandawritingbackgroundandsois ideallyplacedfortheseinitialconsultationsoverSkype.Alessiaalsoofferedone-to-onesessionswithanumberofmembersduringtheBerlinandCannesFilmFestivalsin2015anditisanticipatedthatthiscontributionwillbestrengthenedin2016.

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III.Research/Advocacy EWAResearchprojectIn2015,EWA’sDirectorspentavastamountoftimeco-ordinatingtheresearchproject: “Where are the female directors in European films? Data mappingreportwithpolicyrecommendations,basedonfindingsandbestpractice”.Thisincludedorganisingmeetings, gathering data and guiding thenational countryco-ordinatorscarryingouttheresearchatnationallevelalongsideHollyAylett,aconsultantrecruitedtooverseethedraftingofthecontentandthemobilisationofthenationalresearchers.Theresearchaddressesthelackofpan-Europeandatamonitoringonwomeninfilm and provides policy recommendations to improve gender equality in theindustry.EWAhasbuiltasetofquantitativedataregardingallstagesofwomendirectors'participationinfilm-fromfilmschoolandfundingtocinemarelease–togetherwithaportraitofpoliciesalreadyinplaceinsupportofgenderequality.The informationhasbeenanalysedalongsideanswers toaquestionnaire, sentouttofilmprofessionals inthesixdifferent languagesofthepartnercountries,designedtoteaseoutideasonthecausesofinequalityandpolicieswhichcouldtransformthesituation.Seven European countries have joined the project, providing statistics andquantitative feedback on the status of women directors in each nationalindustry: Austria (OFI), Croatia (HAVC), France (CNC), Germany (University ofRostock),Italy(DGC-MIBACT),Sweden(SFI)andtheUK(BFI,CreativeSkillsetandtheuniversitiesofSheffieldHallamandBirkbeckCollege,LondonUniversity).TheFrenchquestionnairewassentoutbyCreativeEuropedeskStrasbourgandFrancereceivedthehighestnumberof respondentsoutofall theparticipatingcountries.ForthequantitativepartoftheresearchEWAhasbeenworkingwiththe CNC’s research department and for the qualitative and analytical sectionswe are working with the French professor and expert on gender equality:BrigitteRollet.Intermsofdissemination,thefirstfindingsoftheresearchwerepresentedon5September2015duringtheVeniceFilmFestival.AlexiaMuiños,DeputyDirectorandHollyAylett,HeadofResearch,sharedaplatformwithSilviaCosta,Chairofthe Committee on Culture and Education of the European Parliament. TheConference was introduced by Alberto Barbera, Director of the Venice FilmFestival and addressed by Nicola Borrelli, Director-General Cinema –MiBACT,

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andMonicaParrella,Director-GeneraloftheOfficeforIntervention,DepartmentforEqualOpportunitiesatthePresidencyoftheItalianCouncilofMinisters,andthediscussionwasmoderatedbyCristinaLoglio,Chairof theMiBACTCreativeEurope Committee. The audience included the President of the Italian FilmCommission Network; representatives of two principle authors' associations,100Autori and ANAC; Secretary General of Media Salles and the Director ofEuro-MediterraneanCo-ProductionForuminApuglia. The final report will be launched at a press conference at the 2016 Berlinale(Saturday 13 February, date and location tbc). This has been a difficult anddemandingprojecttobringtofruitionbutwehopethatitsreleaseandongoingcollaborationwiththeEUandtheCouncilofEuropeaswellaswithnationalfilmfunds,willensurethatthenewguidelinesforimplementinggenderequalitythereport is proposing will be put into practice by national film funds, EuropeanbodiesandorganisationsoutsideEuropetoo,notonly in termsofcarryingoutgender monitoring but also as a means of adopting best practice policies.Furthermorewehave started tobe invited to apply for further tenderbids tocarryoutresearchonsubjectsincludingwomenandvideogamesinEuropeanddevelopingadatabaseofinformation. Advocacyupdate EWA has continued to pursue its strategy of garnering increasing politicalsupport by working with national film funds, European organisations andprofessionals at large, etc. The dual roles of Isabel Castro, Deputy Director ofEurimages, and Secretariat member responsible for the Eurimages genderequalityworkinggroupandalsoEWA’sTreasurer;andFrancineRaveney,EWADirector/Research Project Manager and Eurimages Project Manager, hascertainly facilitated relations with national film funds and professionals andensuredthatEWA’smessagetravelsfluidly.FurthermoretwomoremembersofEWAalsoworkinEurimages:SusanNewmanandAlessiaSonaglioni.ThesedualroleshaveimmeasurablyhelpedEWA’sadvocacymessagestobeimplemented.InFebruary2015at theBerlinale,EWAparticipated inaconferenceon femalenetworking in Berlin. EWAmember Kate Brown accompanied an internationalpanel featuring representatives fromFilm Fatales,Directors UK,Pro QuoteRegieandDortmund/KölnInternational Women’s Film Festival. AnnaSerner,EWA’sSpecialAdviserandCEOoftheSFI,wasakey-notespeakerattheevent.In July,EWADirectorFrancineRaveneymoderatedapanelon "Women in theindustry: spotlight on success stories" at Locarno Film Festival. Panellists

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included:CatherineDussart,Frenchproducer,andBettinaOberli,aDirectorandScreenwriter from Switzerland. The event was opened by Nicole Schroeder,HeadofDepartmentFOCALandtherewereupto250peopleintheaudience.Onemajorhighlightof2015hasbeenEWA’spresenceatandroleinhelpingtoorganisetheSarajevoconferenceonWomenintheEuropeanFilmIndustry.Theconference wasorganisedunder the auspices of theBosnia and HerzegovinaChairmanshipoftheCouncilofEurope'sCommitteeofMinistersincollaborationwiththeBosnianministriesofCivilAffairsandForeignAffairsaswellaswiththeSarajevoFilmFestivalandwithcontent support fromtheEurimages film fund.TheconferencewasattendedbyrepresentativesfromministriesofcultureandfilmfundsfromacrossEuropeaswellasnationalandpan-Europeannetworks,includingtheEuropeanWomen'sAudiovisualNetworkandDirectorsUK.At the end of the conference, a declaration which emphasizes that "a truedemocracymustmakefulluseoftheskills,talentsandcreativityofwomenandmenalike",wasadopted;theconferencedeclarationalsocallsontheCouncilofEuropetoencourageitsmemberstatestoimplementpoliciestoreducegenderimbalanceintheEuropeanaudiovisualindustry.This declaration is an important first step, as it gives amandate to take somepro-gender-equalitymeasures.Thedeclarationwillalsobediscussedatahigh-levelmeetinginvolvingrepresentativesof47governments.Itishopedthattheywillapprovepreparations for furtherwork inthearea,whichwould impactonhow 47 countries manage their public funding for film with gender equalityfirmlyinmind.Thefactthatadeclarationlikethisisnecessaryisconfirmedbothbythestatisticsandbytheindustry'sperceptionoftheissue.The presence of EWA at this conference and publicity from EWA’s researchfindings mean that we have been reported on in many industry magazines:HollywoodReporter, Variety, etc. and also (7October) in theNewYork Timesamongst others. The Berlin conference will be the next moment to ensuresubstantialpublicityandcommunication.

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IV.Outreach Members Outreachtomembershasmainlybeenviathemagazine,thenewsletter,socialmedia (Facebook/Twitter),mailshotsandothernetworkingevents.Thesehavetaken place in a wide range of countries: Slovenia, Switzerland, UK, Turkey,France,etc.Therearenowseveralhundredofficialmembersandtwonetworkshave become affiliates: Raising Films (UK – to helpwomen returning toworkaftertakingmaternity leave)andWomen inFilm&TVUK.Wehavecontactedmanyothernetworksandwehopethatmorenetworkswillbecomeaffiliatesinthecomingmonths–theBerlinandCannesfilmfestivalscouldbeopportunitiesto strengthen these links. This will mean our extended member base willbecomemuchwider.In2016wewould liketodevelopourplatformfurtherandmaybeapplyingtotheTangoandScanschemeorCreativeEuropeschemes.Furtherdevelopingtheonlinemembers’ space/platformwould allow EWA tomimic the role of a co-production market online. This could serve as an effective means of offeringadded value. It is also envisaged that it would be linked to the trainingprogramme and amini co-productionmarketwith calls for proposals (twice ayear),althoughthismaywellbeaprojectfor2017onwards.Inlightoftheabovememberswillbeinvitedtorenewtheirmembershipatthestartof2016. AmbassadorsThesystemofambassadorshashadlimitedsuccessandthishasvariedfromonecountry to the next. Recently the award-winning Bosnian director, Aida Begic,hasbecomeanambassador, inAlbaniaourambassador,IrisElezi,hasseenherfeature nominated for an Oscar and we have new ambassadors in Ireland,Scotland,France,CzechRepublicandPoland.WehopetoorganiseagatheringinAlsace of all ambassadors in 2016/2017 and also invite our affiliate networkleaderstoattend.Onepossibletopicforsuchaconferencecouldbewomenasleaders.SuchaconferencecouldapplyforsupportfromtheVilledeStrasbourg.InLondon,ItalyandGermanytonamebutafew,theambassadorshavealreadyrepresented EWA at outreach events, be they evening dinners/more politicaldiscussionmeetingsortrainingevents.AlexiaMuinosRuizhostsquarterlySkype

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calls to share ideasandseewhat ishappening ineachof thecountries.Thesehaveprovedsuccessfulandeconomicalsofar.AlexiaMuinosRuizco-ordinatesthe work of ambassadors and will present a report on her findings andsuggestionsattheGeneralAssemblymeeting. Women’snetworksandfestivals Throughout the year EWA remains in contact via calls and meetings withwomen’s networks and festivals from Austria, Germany, the Scandinaviancountries, theUK,Belgium, Franceandmanymore. TwoUKassociationshavebecomeaffiliates:RaisingFilmsandWFTVUKandweexpecttheGermanWFTVand FinnishWFTVs to be the next institutions to become affiliated. CIMA andAAMMA in Spain decided not to join for financial reasons, but AAMMA didorganise a joint event with EWA at Seville film festival (November), havingalreadyco-hostedaneventatMalagafilmfestivalinMarch.EWAalsoco-hosteda panel event with WFTV Germany and WFTV Sweden at the Berlinale inFebruary. Affiliate association membership costs €250 allowing associatemembers,membershipforonly€15peryear.

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V.Communication Visibilityofnetwork Increaseduseofsocialnetworking(Facebook,Twitter)andthewebhashelpedto boost EWA’s visibility. The number of followers of the Facebook pagecontinues to increase and Alexia Muinos Ruiz has been instrumental indeveloping this side of EWA’s work. EWA has also been congratulated byindustrymembersonitsmagazine“TheAudioVision”preparedbySarahHurtes.Thearticlesand interviews in thismagazinehelppubliciseEWA’sworkvia thewebsite and Twitter. Ideallywewould like to expand themagazine to a printversionorat leastonewithadverts,whichcouldmeanthat itwasself-fundingtherebysecuringSarah’sposition.SarahishelpedbyCeciliaJohnson-Fergusoninthiswork.In the future, EWA would like to launch a cinema club allowing participatingcountries (where we have EWA ambassadors or affiliate networks) to screenfilmsbyfemaledirectors/EWAmembersonaregularbasis.ThiswillrequireanapplicationforfundingtotheEUwhichcouldbepreparedatafuturedateandbelinkedtoournetworkofambassadors.

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VI.StaffThe2015EWAteamincluded:- Francine Raveney - Director (Project Manager for Training and Overseer ofResearch,Fundraising,etal);- Alexia Muinos Ruiz - Deputy Director and Head of Web/Comms &AmbassadorsandAssistantTrainingProjectManager;-AlessiaSonaglioni,HeadofCoaching;-ConsultantforTraining,AurélieGrenet;-ConsultantforResearch,HollyAylett;-OutreachManager,PatriciaMolina;-YaizaMené,fund-raisingandsponsorshipadvice.SarahHurtes hasbeen themagazineeditor andCecilia Johnson-Ferguson hasbeenanofficeassistant.LaurenceMinknerassistedusasatraineeattheendof2015andJulietteWampachassistedusasatraineeduringthemonthsof JulyandAugust.ZeynepÖzbaturAtakan’s team in Istanbulcontinuestooffermuchsupportaswell, in particular, Suzan Guverte, and this help has proved invaluable and isattestedbythenumberofTurkishmembersofthenetwork.Whilstproudand fulfilled inhavingbeenable tohave theopportunity to leadsuch an important network, Francine Raveney has decided to resign from thepostasfrom13February2016after3yearsand3months.Thisislargelyowingto her serious ill health scaremid-2015, caused by a burn-out linked to doingtwojobsatonce,butalsothestressthatcamewithongoingfundraisingbeingvital to the survival of thenetworkandpaymentofherpost. Shewill nowbeconcentrating on her own creativewriting and story developmentwork... butwillbehappytoactasaconsultantinthetransitionperiod.OwingtofinanciallimitationsitisnotforeseenthatAurélieGrenet’scontractasa consultantwill be renewedandat the timebeing there isno consultant feeavailableforHollyAylett’songoingresearchwork.AlexiaMuinosRuizwill continue asDeputyDirector, but in a salariedpositionandCeciliaJohnson-Fergusonwillalsojointheteam.

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VII.FundraisingTheDirector has continued towork hard fundraising, especially for overheadsbutalsoforthedifferentprojects.Followingmeetings,phonecallsandfundingapplicationswearedelightedtohaveraisedforgeneraloverheadsin2015: €30,000fromtheSwedishFilmInstitute; €3,000fromtheRégiond’Alsace;and €3,000fromtheVilledeStrasbourg.We also raised in-kind support from the HAVC for the Cannes film festivalreceptionandYapimLabinTurkeyfortheApriltrainingcourse.Forresearch,EWAhasreceivedthefollowingsupport(againpursuanttomanymeetings,applications,etc.): €15,000fromtheAustrianFilmInstitute; €10,000fromLucecinecittàinItaly; €20,000fromCreativeSkillsetUK;and €20,000fromtheSwedishFilmInstitute.In-kindsupportfortheresearchhasbeenprovidedbytheuniversitiesofRostock,Sheffield Hallam and Birkbeck College, London University as well as the filminstitutesinAustria,Croatia,France,Italy,SwedenandtheUK.For the MRST4FF training course EWA has received €120,000 for 2015/2016fromCreative Europe.Wehave received some small support from the City ofAmsterdam (€1,000),who sponsored a dinner during our secondworkshopof2015andwehavemadeanapplicationtoSGAEFoundation,Spainforthefinalworkshop,butthisappearstohavebeenunsuccessful.For the2016editionofMRST4FFAlessia Sonaglioni is inongoing contactwithpotentialItaliansponsorsandtheVilledeStrasbourg.KeringFoundation,whichhasapartnershipagreementwithCannes, iskeentodevelopjointprojectswithEWAforCannes2016andafollow-onmessagehasbeensenttoKeringtofirmupsuchanagreement.Another idea for project fundraising is for EWA to sign a tripartite agreementwithBarcelona,ToulouseandMallorca to setupa school inBarcelona,wherestudents could study English for cinema, pitching and other skills; the schoolcould also host one-to-one coaching sessions and act as EWA’s southern

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Mediterraneanhub.Thisprojectwillbedevelopedin2017withaviewtosettingupthecentrein2018andourcontactPacoPochwillbeabletohelpadviseonthis.We will also remain vigilant to potential tender bids for research, training,platform and other applicable bids, at regional, national and pan-Europeanlevels, and for general overheads the possibility of developing the advisoryboard is being pursued. Each funder would have to invest a minimum fee of€10,000towardsoverheads.

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VIII.ConclusionsandnextstepsHaving become a strong recognisable brand in 2015, especially thanks toinvolvementintheSarajevodeclarationandtheresearchstudyfindingsaswellas the Creative Europe-supported training course, EWA Network is nowrecognised as an important international association. Indeed its impact andimportance far outweigh its actual financial and staffing resources asorganisationssuchas theGeenaDavis Instituteand theEuropeanAudiovosualObservatorycontinuetoreachouttous!Wehavemuchtolookforwardtoin2016: furtherputtingourrootsdowninAlsace,especiallywithAlessiaSonaglioni atthehelm,andalsobyensuringthatatleastonesalariedstaffmember works out of Shadok offices on a daily basis, and developing joint initiativeswiththeVilledeStrasbourgandtheRégiond’Alsace; garneringhugepublicitywhenourstudyisreleasedatthe2016Berlinale and seeing through its follow-on impact on national and pan-European audiovisualpolicy; ongoingvisibilitythankstothehighlysuccessfulMRST4FF;and furthervisibilityifwepartnerwithKeringinCannes2016.Theplatformandmore affiliate associationswill also be targets for increasingourmemberbaseandreach.EWA’stwobiggestgoalsof2016, inadditiontotheperennial fundraisingworkwillbe:1.toattractmoremembers;2.todevelopanEWAplatform;3.tokeepupthegoodwork!4. to continue to be recognised as a network that helps women growprofessionallyinEurope.Thankstoallwhohavehelpedthenetworkgrow.

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AppendicesAppendix1–Calendarofevents2015

Date Activity Place

20JanuaryAGMandConferenceon“Socialimpactofrepresentationsofwomeninfilm”

MédiathèqueOlympedeGouges,Strasbourg

5-12FebruaryEventsatBerlinale:jointeventwithWIFTVDE,presentationoftrainingcourse,“GetNetworkedUp”panelevent

Berlinale,Berlin

9March Researchworkshop London24March Researchworkshop Strasbourg18April MasterclassatMalagaFilmFestival Malaga(Spain)26April Panelat“CrossingEurope”festival Linz(Austria)

28-29April YAPIMLAB/EWATraining:NewMethodsinDevelopingProductionStrategies

Istanbul(Turkey)

29April Trainingonco-productionsandcoaching Rome

14-21MayEventsatCannesFilmFestival:ProducersNetworkBreakfastMeeting,EWA/Croatiannetworkingevent,one-to-onecoaching

CannesFilmFestival

22June Researchmeeting London23-25June MRST4FFWorkshop1 Glasgow(UK)

7July AnnualInternationalFilmFinancing&MarketingCourse(presentationviaSkype)

TelAviv(Israel)

10August Panelon“SpotlightonWomen’sSuccessStories” LocarnoFilmFestival(Switzerland)

14August Highlevelconferenceon“Womenintoday'sEuropeanfilmindustry:genderissues.Canwedobetter?”

SarajevoFilmFestival(BosniaandHerzegovina)

5September Presentationofinitialresearchfindings VeniceFilmFestival

15September BacktoSchoolwithCreativeEurope–presentationofMRST4FF BAFTA(London)

28-29September Researchworkshop London

8October Conferenceongender PiranFilmFestival(Slovenia)10October PresenceatSitgesFilmFestival Sitges(Spain)17October ConferenceatMostraVivadelMediterrani Valencia(Spain)19October Eventonwomeninfilm AntalyaFilmFestival(Turkey)23-25October MRST4FFWorkshop2 Amsterdam(Netherlands)

9NovemberConferencewithWomeninFilmfortheNordicCountries Oslo(Norway)

13November WomeninFocusroundtable SevilleFilmFestival(Spain)18November RadiodiscussionEl7°Vicio Seville(Spain)24November PaneldiscussionatLUXPrizeceremony EuropeanParliament,Strasbourg26November RadiodiscussionLaVEU Barcelona3December Paneleventonwomeninthefilmindustry AntalyaFilmForum(Turkey)4December Researchmeeting Paris7December Researchmeeting Birkbeck(London)

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Appendix2–Calendarofevents2016

Date Activity Place

16January AnnualEWAreunion(assemblyandbureau) Barcelona–CarrerBrosoli,1;3:1

22–24January

LastworkshopforthefirsteditionofthetrainingcoursesupportedbyCreativeEurope:“Multiplerevenuestreamtrainingforfuturefilms”(newtechnologiesandcinemaproductions)

Barcelona–SGAEFoundation

23-24JanuaryPresentationofEWA’sresearch–duringthe“EllesTournent”festival(representedbyBrigitteRollet,Frenchnationalresearcher)

Brussels

13FebruaryConferencetolaunchtheEWAresearchstudy:“WherearethewomendirectorsinEurope?Bestpracticeandpolicyrecommendations”

Berlin-Homebase(TBC)

12–15February

EWAcoachingsessionsduringtheBerlinFilmFestival Berlin

18March EWApresentationattheOneWorldFilmfestival Prague9–10April EWAbureaumeeting Shadok,Strasbourg

11–22May

NetworkingeventattheEuropeduSud-Ouestpavillon;Coachingsessionsforthenetworkmembers;Conferencewiththeindustrypartners;PartnershipwithKering(TBC)

CannesFilmFestival

June EventwithUNIC–Cineuropa Barcelona10–12June Researchteamworkshop:planningandstrategy London24–26June Workshop1MRST4FF–Series2:2016 Pisa,ItalyOctober EWAawardfordirector?/PartnershipwithLeipzig LeipzigOctober RomeFilmFestival–coaching RomeDecember AntalyaFilmFestival AntalyaendNovember Closingworkshopfortraining–MRST4FF–Series2; Strasbourg

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Appendix3-MultipleRevenueStreamTrainingforFutureFilms(secondedition)

June2016–November2016Pisa,Strasbourg

I.Context

Promoting and protecting cultural diversity of audiovisual content is one of the goals of EuropeanWomen’s AudiovisualNetwork (EWA). TheNetwork and itsmember strive to attain greater genderequalityintheaudiovisualsectorforcreativeroles(producer,directorandscriptwriter)andtechnicalcrew and to encourage greater consideration of representations of gender identity in audiovisualcontent.

In order to ensure that cultural diversity of content is safeguarded and promoted it is vital thatEuropeanproducersassimilateawiderrangeofnewbusinessmodels,marketingskills,brandingandcrowd-fundingknowledgeandonlinedistributionskillsets.

The course Multiple Revenue Stream training course will encourage producers to use newtechnologies and ensure their diverse content. This will in turn help ensure their projects remaincompetitiveinadigitalcontext,whichcanseemoreusersturningtoVODplatforms.

II.StrategicObjectives

ThestrategicobjectiveofMultipleRevenueStreamtrainingcourse is toequipEuropeanaudiovisualprofessionalswiththenecessarytechnicalskillstoreachawideinternationalaudienceinthecontextofdigitalconvergence.

III.ProjectDescription

This course will ensure that professionals improve their expertise in the fields of: audiencedevelopment, onlinemarketing, online distribution, opportunities and challenges of the digital shift(which theywill learn to seeasauseful tool rather thanahindrance)and financialandcommercialmanagement.

During the course junior tomediumexperienced producerswill follow a two-partworkshop in twodifferentlocations:

Workshopone-Pisa,Italy(22-26June2016)

Workshoptwo-Strasbourg,France(23-27November2016)

ThefinalresultsandoutcomesofthecoursewillbepresentedduringtheBerlinale2017.

The training course will accompany producers with a project and with a desire to exploit newtechnologiesinaninnovativeandup-to-datemanner,throughtrainingin:

o Traditionalandonlinemarketingtechniques

o Crowd-fundingstrategies

o Financingstructures:newbusinessmodels/Combiningpublicandprivateequity

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o Trailer-making

o Negotiationandpitchingskillstosecureproductplacement

o Legalaspectsofworkingwithbrands

o Multiplemediadistribution(traditionalandonline)

o Developmentofafinancingplan

Inbetweeneach4.5-dayworkshop therewill bemonthly assignments andonline coaching sessionswithfeedbackfromexperts.

IV.ProjectpartnersThetrainingcoursehasbeendesignedwithexpertsinonlinedistributionandnewbusinessmodelsforthefilmindustry,DistrifyMediaandSeed&Spark.Thecoursewillbringtoparticipantsthemostup-to-datesupportandhighlyinnovativetrainingfromtwo successful European and international digital platforms, online marketing and crowd-fundingcompanies,whichhavedrawnonstart-upmarketingtechniquesandappliedthemtothefilmindustry.RepresentativesofDistrifyMediaandSeed&Sparkwilldelivertrainingmodulesforeachofthethreeworkshops and act as tutors to provide feedback to participants on their online assignments in-betweenworkshops.In addition to the pedagogical partnershipwith EWANetwork, DistrifyMedia’s participation to thetraining programmewill ensure that projects receive amaximum of online exposure, guaranteeinginternational reachof films chosen to takepart in the course. Indeed, thoseprojects of a sufficientleveloncompletionofthecoursewillbeguaranteedfreeonlinedistributionandmarketingsupport.ParticipantswillbenefitfromaccesstoDistrifyMediaandSeed&Spark’snetworksofcontacts.V.Courseparticipants,methodologyandtrainersParticipantsParticipantswill be European and twonon-European producerswith a newproject,which they arestarting to develop (pre-production phase). Where possible, participants will already have crowd-funded fora70-minuteplus filmproject (featureordocumentary) leading tocompletionof the filmwith distribution (online, theatrical or festival) and/or can show in their applications demonstrableinterestinonlinefilmmarketingtechniquesanddigitaldistribution.Selectedprojectswillbeofferedfreeonlinedigitaldistributiononcompletionprovidedtheyreachthelevelrequiredasassessedbythedistributionexperts.Thecoursewillbeopentofemaleandmaleprofessionalsandwillseektoensureagenderbalanceanddiversityofbackgrounds.Twoplaceswillbereservedforproducersfromeachofthelocationswheretheworkshopsaretakingplace(ItalyandFrance).Participants must commit not only to attending the workshops but also to completing monthlyassignmentsbetweenthecourses.TheymustalsobeabletoworkinEnglishastheteachingwillallbecarriedoutinEnglish.

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Theywillalsobepartofanetworkingsupportgroup,withanonlineplatform,sotheywillbeabletohelpeachotheralongthedurationofthecourseandbeyond,throughEWA’salumninetwork.

Methodology

Foreachworkshop,expertswilldeliveracombinationofmasterclasses,casestudiesandinteractivegroupexercisesand feedback sessionsduring theworkshops toensurevarietyof teaching format–alwaystothefullgroup.Inbetweeneach4.5-dayworkshop therewill bemonthly assignments andonline coaching sessionswithfeedback.Thedescriptionoftheassignmentscanbefoundinannex1.TheonlineCiscoWebextrainingcentre1hasbeenchosenforfeedbackaftermonthlyassignmentshavebeendelivered,asthisenablestherecordingofalltutorials,whichcanbeusedandarchivedforfutureworkasrequired.

Trainers&tutorsTrainershavebeen selectedboth for their high level of knowledgeand for their reasonable fees aswellastheirpracticalexperienceandabilitytodeliverinformationinalivelymanneraswellastheirtrainingexperience.Our three selected course tutors areEmilyBest, fromSeed&Spark;AndyGreen fromDistrifyMediaandKobiShelyfromDistrifyMedia.Theyallhavepracticalexperiencebothworkingasproducersandasexpertsinnewtechnologiesandfilms.VI.Workshop1Workshop 1 will focus on training in initial marketing strategising and crowd-funding for theparticipants’projects:

o DevelopmentofamarketingstrategyfortheprojectfromtheoutsetThese must be project-specific and clearly defined. Defining a marketing strategy is an essentialrequirementforparticipantstocompleteWorkshop1.ParticipantswilllearnhowtodevelopaviralcampaigningstrategythrougheducationonSEO(SearchEngine Optimization), content creation, social media marketing, influencers, video and visualmarketing,mobile distribution tools, data analysis and optimisation; thiswill impact directly on thesuccessofthecrowd-fundingcampaign.Several online assignments will help participants further develop their marketing strategy aftercompletion ofWorkshop 1. Marketing assignments will be analysed and assessed by one of the 3tutors,KobiShely,onlinemarketingspecialistexpert.

o Commitment to crowd-funding including strategies forensuring success in this, asa tool fordevelopinggreateraudiencesandraisingfinancefortheproject.

1http://www.cisco.com/c/en/us/products/conferencing/webex-training-center/index.html

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Participantswillbetaughthowtoplanacrowd-fundingcampaign.Theywillthenlaunchtheircampaign,undertheguidanceofthetutors,betweenworkshops1and2.Thetutorswillgiveparticipantsmonthlyassignmentstoensurethatthecampaignisontrackandabletomeetitstarget.

o TrainingonthetypesoftrailermostlikelytoattractonlineattentionOneoftheassignmentsafterworkshop1willbetoproduceashorttrailerforonlinebroadcastingtoaccompany thecrowd-fundingcampaign– thiswillbeproducedbasedon training inworkshop1 toensure maximum online exposure and brand recognition of the project from an early stage inproduction.

o GoodpracticeintermsofmixingpublicandprivateequityParticipantswill also learnhowtocombinepublicandprivateequity funding for theirprojects.ThisrespondstotheproblemsometimesencounteredintheEuropeanindustry,whereproducers’primaryconcern is to secure public financing for development because they do not need to guaranteeaudiencesintheirbusinessrevenuemodels.Thedraftagendaofworkshop1aswellasthedescriptionofonlineassignmentscanbefoundinannex1.VII.Workshop2Workshop2will focusonworkingwithbrandsandreachingouttowideaudiencesthroughmultipledistributionplatforms:

o NegotiationandpitchingskillstosecureproductplacementParticipants will learn how to pitch to brands and networks. They will be taught techniques fornegotiating and closing a deal with them. This training will be targeted at securing commercialsponsorshipsandpartnersandwillbeassessedbyapitchingassignment.

o LegalaspectsofworkingwithbrandsItiscrucialtounderstandthelegalimplicationsofplanningformultiplerevenuestreamsandstudyingoftemplatecontractstofullyprotectproducers;samplecontractswillbegiventoparticipantswhichtheywillbeabletouseintheireverydayworkandtrainingwillbedeliveredbyalegalexpert.

o Multiplemediadistribution(traditionalandonline)

Participants will be taught how to devise strategies reach themost suitable audiences possible viadiverse distribution platforms – i.e. tailor created distribution strategies depending on the project.Tutorswillencourageparticipantstoconsidertheatrical,online,VODandtelephonyreleasedependingonthenatureoftheproject.

o DevelopmentofabusinessplanFor suchmultiplemedia distribution of their projects, participants will develop a business plan formultiplerevenuestreamincomeincluding:1.takingintoaccountsalesforVODandincomefrompre-

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salesthroughclips,telecomsdistributionandadvertsaswellassponsorshipfrombrandsandproductplacements2.securingcontractsfordigitaldistributionand3.follow-onmarketingsupport.At the end ofworkshop 2, the business plan, including the financing plan,must be completed andassessedinordertosecurefreeonlinedistributionoftheproject.Thedraftagendaofworkshop2canbefoundinannex1.IX.DisseminationofprojectresultsandcommunicationThe key focus of this course will be on the most efficient and optimal use of new technologiesthroughoutthefilmproductionprocess,frompre-topost-production,toreducecostsandmaximizeimpact of the training. Therefore, dissemination of project results will rely heavily on using newtechnologiestopromotethecourseresults.Anonlinemarketing strategy fordisseminationof goodpractice from the coursewill bedeveloped,incl. the production of a clip, the drafting of a project report and links to some key pointers frompresentations,egusingSlideshareasaplatform.

• Influencerswillbe targetedandengagedwith toensure that theypromote informationandkeyfindingsonthecourse.

• Aclip linkedtothecoursewillbeproducedandpostedonvarioussocialmediawebsites, tocreateabuzzaroundtheclipanddirectuserstotheprojectsoftheparticipantsandthekeyfindingsofthecourse

• SEO (Search Engine Optimization) techniqueswill be used tomake sure the content of thewebsite, Facebook, course page etc. is highly visible, thereby drawing an audience to thesectiononbestpracticecourseoutcomes.

• Socialmediamarketingwill be used throughout the training course, ensuring that sites likePinterest,Instagram,Twitter,Facebookprovideup-to-dateinfoonthecourse

• Videoandvisualmarketing:thecompletedparticipants’projectswillallbeofferedfreeonlinedistributionandaconditionof thiswillbeto include in thecredits thesentence–“withthesupportofEWANetwork/DistrifyMedia/Seed&Spark”.Thissentencewillalsoberepeatedonthehomepagesoftheseprojectswithalinktobestpracticeclips,ensuringmultiplicationofpotentialenduserswhocanfindoutaboutthecourse’soutcomes.

Thetraditionalmethodofhostingpresentationsat industryeventstodisseminategoodpracticewillbeusedandthecoursefindingswillbepresentedataspecificeventduringthe2017Berlinale.EWA will also promote and encourage dissemination of best practice findings throughout itsinstitutionalandmembers’networks.

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Appendix4–“WherearethefemaledirectorsinEuropeanfilms?Datamappingreportwithpolicyrecommendations,basedonfindingsandbestpractice”

I.ProjectProfileTitle:Whereare the femaledirectors inEuropean films?Datamapping reportwithpolicyrecommendations,basedonfindingsandbestpractice

Participatingcountries:Austria,Croatia,France,Germany,Italy,SwedenandtheUK.Durationofproject:November2014–Feb.2016Stage1–Productionofnationalreportsandqualitativesurvey:November2014-August2015Stage2–Presentationoffirstfindings:September2015,VeniceFilmFestivalStage3–DraftingoffinalreportanddisseminationAugust2015–Feb.2016Reportlaunch–BerlinfilmfestivalSector:GenderequalityintheEuropeanfilmsectorImplementingorganisation:EuropeanWomen’sAudiovisualNetwork(EWANetwork)

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Appendix5–EWA’steam,ambassadors,bureauandspecialadvisersend2015Team Post Location ContactdetailsFrancineRaveney

DirectorProjectManager:TrainingResearch**Directorshipwillendasat13February2016.Newpost:HeadofPR

Strasbourg Francineraveney27@gmail.com

AlessiaSonaglioni

EWACoach******TotakeoverasDirectorasat14February2016.

alessia.soanglioni@coe.int

AlexiaMuinosRuiz

DeputyDirector,Web Barcelona alexiamuin@gmail.com

AurélieGrenet

Consultant****Contractwillend31Jan.

Geneva,Strasbourg

Aureliegrenet44@gmail.com

PatriciaMolinaComas

Projectmanager:Outreach Strasbourg pmolina.com@gmail.com

HollyAylett ConsultantResearch

London ayletth@gmail.com

SarahHurtes CommunicationsOfficer Lyon,Mauritius sarahurtes@gmail.comCeciliaJohnsonFerguson

Assistancewithinterviewsandcomm.********Willjointheteamasat1/1/16.

Strasbourg cecilia.johnsonferguson@gmail.com

Bureau Title Location ContactdetailsIsabeldeOcampo

ExecutivePresident Madrid isabeldeocampo@gmail.com

ZeynepÖzbaturAtakan

Vice-President Istanbul zeynepozbatur@gmail.com

PaulaOrtiz Vice-President Barcelona paulaortizalvarez@hotmail.com

IsabelCastro Treasurer Strasbourg isabel.castro@coe.intNicholasRaveney

Secretary Strasbourg nicholas.raveney@free.fr

SusanNewman

Deputysecretary Strasbourg

Ambassadors Jobarea Location ContactdetailsIrisElezi Director,UniversityLecturer 1. T

ir

iriselezi@gmail.com

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ana,Albania

IrisZappe-Heller

DeputyCEO,FilmFund Vienna,Austria iris.zappe-heller@filminstitut.at

AidaBegic Director BosniaandHerzegovina

InesRabadan HeadofBelgianSACD Brussels,Belgium

SanjaRavlic HeadofCo-productions,HAVC Zagreb,Croatia sanja.ravlic@havc.hrCharlotteSilvera

Director Paris,France charlotte.silvera@online.fr

AnitaGerencser

HungarianCulturalCentre,Berlin,producer

Hungary agerencser@gmail.com

LudovicaFales Director Italy(basedbetweenRomeandLondon)

ludovica.fales@gmail.com

DoggMosgedottir

Director Iceland wift@wift.is

AlexandraHoesdorff

Producer,Fundmanager Luxembourg alexandra@dealproductions.com

AnaGodinhodeMatos

Director,producer(documentaries)

Portugal(basedLondon)

anagodinhomatos@yahoo.co.uk

AlexiaMuinosRuiz

Director Spain Asabove

ZeynepÖzbaturAtakan

Producer Istanbul,Turkey Asabove

Amberd’Albert

DeveloperTV London,UK a.r.dalbert@gmail.com

StefaniaBrunori

Marketingexpert UAE (canbereachedviaAMR)

Specialadviser

Areaofexpertise Location Contactdetails

ElinErichsen Training(NFI) Oslo,Norway elin.erichsen@nfi.noBenjaStigFagerland

SHEconomics Copenhagen,Denmark benja@benjastigfagerland.com

KateKinninmont,MBE

HeadofWFTVUK London,UK

DorotaOstrowska

Research(Birkbeck,Londonuniversity)

London ubwc156@mail.bbk.ac.uk

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ColinPons Producer,SheffieldHallam

Sheffield,UK colin@studioofthenorth.co.uk

JanRunge UNIC Brussels,Belgium jrunge@unic-cinemas.orgAnnaSerner CEO,SFI Stockholm,Sweden AslihanTekin Advocacyexpert Brussels,Belgium aslihan.tekin@kagider.orgCaroleTongue formerMEP,

advisoronaudiovisualpolicy

London,UK tonguec@btinternet.com

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Appendix6–SarajevoDeclaration

BOSNIAANDHERZEGOVINACHAIRMANSHIPOFTHECOMMITTEEOFMINISTERSOFTHECOUNCILOFEUROPE

HIGH-LEVELCONFERENCESarajevo,14August2015

“Womenintoday’sEuropeanfilmindustry:gendermatters.

Canwedobetter?”SARAJEVOCONFERENCEDECLARATION

TherepresentativesofthestatesparticipatingintheCouncilofEurope’sconferenceon“Womenintoday’sEuropeanfilm industry:gendermatters.Canwedobetter?”,held inSarajevo(BosniaandHerzegovina)on14August2015,adoptthefollowingdeclaration:Recalling the principles affirmed by the Committee ofMinisters of the Council of Europe in itsRecommendation (2003)3 on balanced participation of women andmen in political and publicdecision-making, and its declaration “Making gender equality a reality”, adopted at its 119thsession inMadridon12May2009,and implemented in the“CouncilofEuropeGenderEqualityStrategy2014-2017”,namely:

• gender equality is an integral part of human rights and a fundamental criterion ofdemocracy;

• genderequalitymeansanequalvisibility,empowerment,responsibilityandparticipationofbothwomenandmen in all spheresofpublic andprivate life, and is theoppositeofgenderinequality,notofgenderdifference;

• genderequalityisbothagoalinitselfandacross-cuttingissuewhichshouldbeatthecoreofpracticaldecision-making.

Acknowledgingthe importanceofaudiovisualworks inEuropeancultureandthesignificantrolewhichtheCouncilofEurope,throughitscinemaco-productionsupportfundEurimages,plays intheproductionandpromotionofEuropeancinema;Observing,onthebasisofthestudiesandreportspresentedatthisconference:

• thatwomenareconsiderablyunderrepresentedinkeyjobrolesinthefilmindustry;• thattheyareatasignificantriskofreceivinglessfavourabletreatmentthanmen,interms

ofbothpayandfilmfundingopportunities;• thattheirworkachieveslessrecognitionthanthatofmen.

Emphasising that a true democracy must make full use of the skills, talents and creativity ofwomenandmenalike;Declare:

• ourfirmcommitmenttogreatergenderequalityintheEuropeanaudiovisualindustry;• oursupportfor:

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- theeffortsundertakenbyEurimagestocollectandanalysedataonthegenderofprojects and the presence of women in projects applying for co-productionsupport;

- the work carried out by the European Audiovisual Observatory in enhancingtransparencywithregardtothenumberofEuropeanfemale-directedfilms;

- andalsotheactivitiesofassociations,atnationalandpan-Europeanlevelinraisingawarenessabouttheroleofwomenintheindustry;

• andour support for theefforts alreadymadeby somemember statesof theEurimagesFund topromote gender equality in access topublic funding, andwelcome thepositiveoutcomesresultingfromthispolicy;

CallontheCouncilofEuropetoencourageitsmemberstatestoimplementpoliciestoreducethegenderimbalanceintheEuropeanaudiovisualindustrywithaviewtobringingaboutalastingandwidespreadimprovementinthesituation;thisinvolvesenhancingwomen’saccesstokeypostsintheaudiovisualindustryandfilm-making,sothattheycanexpressthemselves,drawingontheirtalent,theirperspectiveandtheirauthenticity;Andtothatend,tocarryoutthefollowingspecificactivitiesthroughtheEurimagesFund:

1) assessdisparitiesandanalysethecausesandfactorsleadingtothemarginalisationofwomen in the various sectors of the film industry; encourage member states toproduce gender-based statistics in order to assess gender equality levels in theirnationalfilmindustry;setupadatabasecontaininginformationatnational levelandanalysethedatausinga listofmonitoringandresult indicatorsmaking itpossibletoassessprogressandtheimpactofanymeasuresadopted;

2) encouragememberstatestoadoptequalitypoliciesaimedatpromotingwomeninthefilmindustryandimprovingtheiraccesstopublicfunding;

3) developandapplyappropriatemeasuresforreducinginequalityandimprovinggenderbalance in decision-making posts in the industry and within selection panels,institutionsforeducationandtraining,juries,festivalsetc.,inparticularbyenhancingprospects forwomen;byencouragingexperienceddirectorsandproducers toactasrole models and inspire younger generations (master-classes); supporting traininginitiatives helping women to assert themselves within the industry (seminars,coaching,summercoursesinco-production);andcreatingadevelopmentprizetobeawardedtoafemalescriptwriter/directorduringafestival;

4) enhancethevisibilityandrecognitionoffemalefilmmakers,welcometheirworkandcelebratetheirsuccesses,inparticularbysettingupaprizeatafestivalandorganisingaseasonofscreeningsincollaborationwitharelevanttheatrenetwork;

5) raise awareness of the status of women in film, both as regards on-screenrepresentationandinprofessionalterms,inparticularby:organisingconferencesandround-tablediscussionsonequality-relatedtopicsandmeetingsbetween institutionsandprofessionals;publishingstudiesandreportingontheir findings;and identifying,collectinganddisseminatingexamplesofbestpracticeamongallstakeholders;

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6) encouragefilm-makerstobemoresensitivetoon-screenfemalerepresentation;

7) identifyfutureareasofstudyandproposeadditionalmeasurestostrengthenmemberstates’commitmenttoagenderequalitypolicyintheEuropeanfilmindustry.

To achieve these results, guarantees of visible political commitment should be given bydrawingonexistingstandardsandsettingup,wherenecessary,anappropriatelegislativeandpolitical framework; involvingandmobilisingcivil-societyorganisationsworking in thesamefield; drawing on their experience and knowledge; and establishing the foundations forfruitfulcooperationwithallstakeholders,nationalandinternationalinstitutions,professionalbodies,NGOs,andotherassociationsstrivingforgenderequalityintheaudiovisualsector.ThanksareduetotheauthoritiesofBosniaandHerzegovinaforhostingthisconference,andtoallthosewhotookpart.Linktothedeclaration:http://www.sff.ba/en/news/10231/declaration-on-gender-equality-in-european-film-industry-adopted-at-a-conference-during-sarajevo-film-festival