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INDUSTRIE / MARCHÉ République tchèque

La télévision tchèque prévoit des coupes drastiques dans les sommes dédiées à la production cinématographique

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- La chaîne publique tchèque est un partenaire important pour la production cinématographique nationale ; cette décision a pour fin d’assurer le maintien en toute viabilité de l’institution

La télévision tchèque prévoit des coupes drastiques dans les sommes dédiées à la production cinématographique
Le DG de la Télévision tchèque, Petr Dvořák (© Czech Television)

Cet article est disponible en anglais.

The Czech public broadcaster, and the most-watched group of television channels in the domestic market, Czech Television, is preparing to veer towards a more frugal economic regime. The group has introduced a sustainability strategy called “#re_vision_2024”, designed to cut costs by 910 million Czech crowns (€36,884,574) over the course of 2023 and 2024. “The current development of inflation and other economic phenomena has brought this moment closer, and Czech Television is forced to introduce changes to its operations, programmes and broadcasting much faster than anticipated,” says Petr Dvořák, CEO of Czech Television. The receiver licence fee has stood at 135 Czech crowns (€5.47) per month since 2008, “but due to inflation, the real value of the fee has fallen to today’s level of 86 Czech crowns (€3.49) per month”, notes the firm. This year’s budget is 7.17 billion Czech crowns (€290 million).

(L'article continue plus bas - Inf. publicitaire)

The announced austerity measures entail a reduction of investment in technology as well as lay-offs. A total of 250 positions (8% of the staff) will be axed in two waves, starting this year – a move intended to save 300 million Czech crowns (€12,162,796). With fewer job positions, limited investments and reduced television production capacities, the pace of production of original programming will slow.

Czech Television is the largest producer of audiovisual content in the country and plans to maintain its leading position. The number of new original programmes will decrease across all genres (with projected cost cutting of 320 million Czech crowns, or €12,973,649). The group will be shutting down its third channel, ČT3, at the beginning of 2023 (generating savings of 120 million Czech crowns, or €4,865,118). It was launched at the onset of the pandemic as “a nostalgia channel”, and its target audience consists of elderly viewers. Furthermore, the group will also ease off on production of sports programming, which should bring about savings of 80 million Czech crowns (€3,243,412).

Czech Television is an important co-production partner for domestic filmmakers. Indeed, it co-produced 39 feature films that were released on domestic big screens in 2021, including the internationally premiered titles Gorbachev. Heaven [+lire aussi :
critique
bande-annonce
fiche film
]
by Vitaly Mansky, Michaela Pavlátová’s My Sunny Maad [+lire aussi :
critique
bande-annonce
interview : Michaela Pavlátová
fiche film
]
, Peter Bebjak’s The Auschwitz Report [+lire aussi :
bande-annonce
interview : Peter Bebjak
fiche film
]
and the Czech Oscar nominee Zátopek [+lire aussi :
critique
bande-annonce
interview : David Ondříček
fiche film
]
by David Ondříček, among many others. Plus, the television group is also behind the latest batch of new domestic titles that will have their world premieres at the upcoming edition of the Karlovy Vary International Film Festival (see the news): Miroslav Krobot’s Big Opening (see the news), Beata Parkanová’s The Word [+lire aussi :
critique
bande-annonce
interview : Beata Parkanová
fiche film
]
, Adam Sedlák’s BANGER. and Štěpán FOK Vodrážka’s PSH: Neverending Story.

Czech Television plans to continue supporting domestic projects, but it will reduce its involvement by half compared to previous years, when it spent 100 million Czech crowns (€4,052,357) annually on film projects. The projected savings amount to 90 million Czech crowns (€3,648,838). According to the CEO, the company will explore non-financial ways to support domestic cinema using its in-house resources, such as by participating in post-production or by renting equipment and studios. However, Dvořák warned that if the receiver licence fee does not increase, a second, “much more drastic” wave of cost cutting may be necessary for the public broadcaster.

(L'article continue plus bas - Inf. publicitaire)

(Traduit de l'anglais)

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