Children’s content occupies a prominent place within the Danish audio-visual landscape, which is the result of a consistent policy and multiple actions. In addition to incentives for development, production and promotion of children’s content, the Danish Film Institute (DFI) now also paves the way to more precise work for the young audience by conducting a study into children’s habits, opinions and preferences regarding fiction films and series. This first comprehensive study on children’s audience behaviour and fictional audio-visual content has been published in August 2020.
In addition to a summary, also the entire study is now available in English and can be found on the website of the Danish Film Institute.
Following the results of the 3rd KIDS Regio Forum 2019 a study on numbers, challenges and questions about European Children’s Film is now available. The study was commissioned by KIDS Regio and executed by Dr. Steffi Ebert. The lobby initiative and Dr. Ebert have been cooperating for several years on the collection of data on European Children’s Film. The study is the first action following the 5-point agenda of the Weimar Declaration which was passed by 80 experts from 24 countries at the 3rd KIDS Regio Forum 2019 in Weimar.
The study provides an in-depth look at the production and performance of European Children’s Film. The collected data shows amongst other things that the production growth in children’s film production is smaller in comparison to the overall European production growth. Although, children’s films only make up around 6 % of all European productions, they account for 10.7 % of all admissions. This is however due to the achievement of animated films. Live action films show lower growth in production and reach a smaller audience.
English Report: http://dx.doi.org/10.25673/31997
German Report: http://dx.doi.org/10.25673/31996
This international study shows that European films can strengthen children and young people's cultural understanding, identity and tolerance. Around 80,000 children and young people in Denmark, the UK and Germany have participated in the project focusing on film and integration. After screenings, they discussed the films with their teachers. Finally, a selection of the young audience and their teachers were interviewed by researchers from the three countries, including Petra Anders, Michelle Canon, Pernille Clemmensen and others. More informatio here.
The project ran from January 2018 until the end of March 2019 as a collaboration between the British Film Institute, Vision Kino in Germany and the Danish Film Institute with support from EU's Creative Europe.
For almost two decades, Dutch youth film has been one of the trademarks of the Dutch film industry, both in Dutch cinemas, on other platforms, at international festivals and in sales to foreign countries. In recent years, however, changes in the market have put this industry under severe pressure. In order to become successful again, joint efforts by all parties in the film sector are required - states one of the studies conclusions.
The research was conducted by Peter Bosma and editorially supervised by Esther Schmidt on behalf of The Netherlands Film Fund. So far the report is available in Dutch and English.
Are there children’s films in Southeast Europe? How many films from the region are shown in cinemas? Why are there so few directors from Southeast Europe who shoot films for children? This large study commissioned by Thessaloniki Film Festival, attempts to answer these questions and more. More information here.
The aim of this research is to provide detailed knowledge about the production and reception of film, TV and online fiction for young audiences through in-depth analysis of the current strategies for creating engaging fiction for them. The project analyses the notions of digital childhoods and best practice in the current production frameworks and links this to extensive qualitative reception studies based on the hypothesis that much can be learned, from an academic as well as an industry perspective, by bringing production and audience studies closer together.
The focus is on Danish fiction for children and young audiences, but the project also conducts comparative case studies in Norway, the UK and Australia. For more information visit the project website.