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Trends of cinema-going in Europe and worldwide
Multiplexes in Europe
Digital Cinema worldwide
Talk by Elisabetta Brunella
Secretary General, MEDIA Salles
at the CICAE course “Art Cinemas = Action + Management”
9-18 March 2005, Venice, Italy
MEDIA Salles is an initiative of the MEDIA Progranne of the European Union with the support of the Italian Government.
MEDIA Salles is an initiative of the MEDIA Progranne of the European Union with the support of the Italian Government.
CINEMA-GOING IN WESTERN EUROPE
2003
• overall result –5.1% compared to 2002
from 958 to 909 million spectators
• admissions on the 5 main markets are decreasing
D: -9.1%, E: -2.3%, F: -5.6%, UK: -4.9%, I: -5.5%
• total screens in 2003: 27 243 (+2.5%)
• screens are stable in D, still growing in E (+6.8%), I (+6.4%),
UK (+0.9%), F (+0.6)
CINEMA-GOING IN CENTRAL
AND EASTERN EUROPE
2003:
• total admissions are decreasing: -3.9%
from 102 in 2002 to 98 million spectators in 2003
• the main markets record different trends in admissions:
CZ: +13.5%, HU: -11.4%, PL: -6.7%, RO: -14.8%, TR: +0.5%
• total screens in 2003: 4 709
HOW FREQUENTLY DO
EUROPEANS GO TO THE CINEMA?
FREQUENCY PER CAPITA IN THE 5 MAIN
MARKETS OF WESTERN EUROPE
4,00
3,00
2,00
1,00
0,00
2000 2001 2002 2003
D E F I UK
2000 2001 2002 2003
Average frequency per capita
D 1,86 2,16 1,99 1,80
in Western Europe in 2003:
E 3,39 3,64 3,44 3,31
F 2,82 3,15 3,11 2,92 2.32
I 1,70 1,82 1,82 1,71
UK 2,39 2,60 2,97 2,82
FREQUENCY PER CAPITA IN THE 5 MAIN
MARKETS OF CENTRAL AND EASTERN EUROPE
2,00
1,50
1,00
0,50
0,00
2000 2001 2002 2003
CZ HU PL RO TR
2000 2001 2002 2003 Average frequency per capita
CZ 0,85 1,01 1,05 1,19 in Central and Eastern Europe
HU 1,40 1,54 1,50 1,34 in 2003:
PL 0,54 0,72 0,70 0,66
RO 0,23 0,26 0,24 0,21 0.53
TR 0,39 0,38 0,32 0,32
WESTERN EUROPE vs
EASTERN and CENTRAL EUROPE
WESTERN EUROPE
(18 countries)
1998 2003 var % 03/98
Km 2 3 671 000
Population 386 506 500 392 517 800 1,6%
No. of cinemas 11 320 11 050 -2,4%
No. of screens 22 717 27 243 19,9%
Admissions 845 659 000 909 159 000 7,5%
Gross Box
Office (euro) 4 311 793 000 5 247 684 000 21,7%
2002 2003 var % 03/02
Population 390 425 995 392 517 800 0,5%
No. of screens 26 584 27 243 2,5%
Admissions 958 436 000 909 159 000 -5,1%
WESTERN EUROPE- 2003
(18 countries)
• One cinema every 332 Km2
• One screen every 135 Km2
• One cinema per 35 522 inhabitants
• One screen per 14 408 inhabitants
• Average size of cinema: 2,5 screens
• Frequency per capita: 2,32 tickets per year
• Average ticket price: 5,77 euro
CENTRAL and EASTERN EUROPE
(15 countries)
1998 2003 var % 03/98
Km 2 2 022 600
Population 185 767 328 187 058 537 0,7%
No. of cinemas 3 879 3 502 -9,7%
No. of screens 4 390 4 709 7,3%
Admissions 98 597 000 98 486 000 -0,1%
Gross Box Office
(euro) 184 774 000 277 895 000 50,4%
2002 2003 var % 03/02
Population 186 232 015 187 058 537 0,4%
No. of screens 4 825 4 709 -2,4%
Admissions 102 446 000 98 486 000 -3,9%
CENTRAL and EASTERN EUROPE - 2003
(15 countries)
• One cinema every 578 Km2
• One screen every 430 Km2
• One cinema per 53 415 inhabitants
• One screen per 39 724 inhabitants
• Average size of cinemas: 1,3 screens
• Frequency per capita: 0,53 tickets per year
• Average ticket price: 2.82
WESTERN EUROPE vs
CENTRAL and EASTERN EUROPE
• Frequency per capita in Western Europe is four times higher than in
Central and Eastern Europe (2,32 vs 0,53).
• The average ticket price in Western Europe is almost double that of
Central and Eastern Europe (5,77 euro vs 2,82 euro).
• In the 1998 – 2003 period,
- gross box office in Central and Eastern Europe increased by 50.4%, as
against the 21.7% increase recorded in Western Europe,
- on the other hand, admissions in Western Europe increased by 7,5%
and in Central and Eastern Europe decreased by 0,1%,
- the average ticket price in Western Europe increases slightly, growing
from 5,10 to 5,77 euro, as against the increase from 1,87 to about 2,82
recorded in Central and Eastern Europe.
• Western Europe has 1 screen every 14 408 inhabitants whilst Central and
Eastern Europe have 1 every 39 724 inhabitants.
• The ratio of the two regions is over 2:1 (2,75).
WHICH MOVIES DO EUROPEANS
WATCH AT THE CINEMA?
ADMISSIONS IN EUROPE BY FILM ORIGIN
100,0%
80,0%
60,0%
40,0%
20,0%
0,0%
1996 1997 1998 1999 2000 2001 2002 2003
US Films
National films on their ow n market
European films outside their ow n market
Others
1996 1997 1998 1999 2000 2001 2002 2003
US Films 71,6% 65,9% 77,5% 69,2% 73,3% 65,1% 70,5% 72,1%
National films on their own market 17,0% 21,3% 14,4% 17,5% 15,7% 20,6% 17,9% 19,4%
European films outside their own market 8,8% 10,8% 7,0% 11,3% 7,2% 10,8% 9,9% 6,3%
Others 2,6% 2,0% 1,1% 2,0% 3,8% 3,5% 1,7% 2,2%
MARKET SHARES IN WESTERN EUROPE - 2003
100%
90%
80%
70%
60%
50%
40%
30%
20%
10%
0%
B CH D DK E F FIN I IS L N NL S
Domestic films European films US films Other films
D:gross distribution revenues FIN: percentages of admissions I: Cinetel data
MARKET SHARES IN CENTRAL AND
EASTERN EUROPE - 2003
100%
80%
60%
40%
20%
0%
CS CY CZ EE HU LT LV PL RO SK
Domestic films European films US films Other films
CS, EE, HU, PL: new releases PL: percentage of admissions
ADMISSIONS IN EUROPE BY FILM ORIGIN
• Breakdown of admissions by film origin is stronly affected by the success
of US films which mantain an extremely high share of total admissions,
around 70%, over the years.
• In alternative years, specifically in 1997, 1999 and 2001, Domestic films
gained significant shares of admissions, as did, to a lesser extent,
European films in general. Thanks to the success of a few titles, the latter
managed to influence the overall market trend.
• In 2003, faced with a predominance of US films, it was mostly Domestic
films that managed to play a significant role in Europe, gaining significant
shares of box office (F: 34.5%, DK: 23.2%, I: 22.0%, S: 18.9%, CZ: 23.7%, CS:
18.5%, PL: 9.8%)
• Instead the market shares of non-domestic European films remain quite
small.
ADMISSIONS FOR DOMESTIC FILMS
GERMANY
Total admissions in 2004:
156.7 m. (+5.2%)
From TOP 10 FILMS (by admissions):
1. (T)RAUMSCHIFF SURPRISE - PERIODE 1 (D):
9 137 506 admissions
3. 7 ZWERGE (D): 6 486 540 admission
5. DER UNTERGANG (D, I, A): 4 521 903 admissions
% of top 3 DOM on total admissions: 12.9%
ADMISSIONS FOR DOMESTIC FILMS
CZECH REPUBLIC
Total admissions in 2003:
12.1m. (+13.5%)
From TOP 10 FILMS (by admissions):
1. PUPENDO (CZ): 958 300 admissions
5. JEDNA RUKA NETLESKÁ (CZ): 457 500 admissions
6. KAMENÁK (CZ): 417 700 admissions
7. ŽELARY (CZ, A, SK): 386 800
% of top 4 DOM on total admissions: 18.3%
ADMISSIONS FOR DOMESTIC FILMS
SERBIA AND MONTENEGRO
Total admissions in 2002:
4.8 m. (-0.4%)
-15.3% (2001/2000)
From TOP 10 FILMS (by admissions):
1. ZONE (CS): 1 005 156 admissions (21.1% on total admissions)
3. MRTAV 'LADAN (CS): 176 372 admissions
5. MALA NOCNA MUZIKA (CS): 153 687 admissions
8. LAVIRINT (CS): 121 041 admissions
9. JEDAN NA JEDAN (CS): 112 810
% of top 5 DOM on total admissions: 32.9%
ADMISSIONS FOR DOMESTIC FILMS
POLAND
Total admissions in 2001:
27,6 m. (+ 32,3%)
From TOP 10 FILMS (by admissions):
1. QUO VADIS (PL): 4 276 674 admissions
2. W PUSTYNI I W PUSZCZY (PL): 2 221 137 admissions
3. PRZEDWIOŚNIE (PL): 1 742 587 admissions
7. WIEDZMIN (PL): 606 288 admissions
% of top 4 DOM on total admissions: 32%
TRENDS IN CINEMA ADMISSIONS
Concentration of admissions on few titles
In 2002:
CS: top 3 films = 31.9% on total admissions
top 10 films = 52.1% on total admissions
PL: top 10 films = 44.6% on total admissions
EE: top 10 films = 43.2% on total admissions
UK: top 10 films = 41.9% on total admissions
CZ: top 10 films = 34.9% on total admissions
D: top 10 films = 34.3% on total admissions
CINEMA-GOING WORLDWIDE:
WESTERN EUROPE vs
INTERNATIONAL MAJOR MARKETS
CINEMA-GOING WORLDWIDE:
ADMISSIONS (x 1 000 000)
var% var%
1995 1996 1997 1998 1999 2000 2001 2002 2003 95/03 03/02
W. Europe 664,2 711,1 761,6 815,9 803,2 835,4 923,8 926,4 879,4 32,4% -5,1%
USA 1 262,6 1 338,6 1 387,7 1 480,7 1 465,2 1 420,8 1 487,3 1 639,3 1 574,0 24,7% -4,0%
Japan 127,0 119,3 140,7 153,1 144,7 135,4 163,3 160,8 162,3 27,8% 0,9%
Australia 69,0 73,9 76,0 80,0 88,0 82,0 92,5 92,5 90,0 30,4% -2,7%
Russia . . . . 24,6 30,2 36,4 40,5 68 . 67,9%
NUMBER OF SCREENS
var% var%
1995 1996 1997 1998 1999 2000 2001 2002 2003 95/03 03/02
W. Europe 18 928 19 728 20 757 21 908 23 207 24 117 24 950 25 744 26 325 39,1% 2,3%
USA 27 805 29 690 31 640 34 186 37 185 37 396 36 764 35 280 35 786 28,7% 1,4%
Japan 1 776 1 828 1 884 1 993 2 230 2 524 2 585 2 635 2 681 51,0% 1,7%
Australia 1 137 1 251 1 431 1 576 1 748 1 817 1 855 1 872 1 907 67,7% 1,9%
Russia . . . . 100 130 220 350 542 . 54,9%
Russia: the number of screens refers to the theatres of new generation
WESTERN EUROPE - USA:
NUMBER OF ADMISSIONS
3 000,0
2 500,0
2 000,0
1 500,0
1 000,0
500,0
,0
1995 1996 1997 1998 1999 2000 2001 2002 2003
W. Europe USA
Europe 1995 – 2003: + 32%
Europe 2000 – 2003: + 5%
USA 1995 – 2003: +25%
USA 2000 – 2003: +11%
WESTERN EUROPE - USA:
NUMBER OF SCREENS
80 000
60 000
40 000
20 000
1995 1996 1997 1998 1999 2000 2001 2002 2003
W. Europe USA
Europe 1995 – 2003: + 39%
Europe 2000 – 2003: + 9%
USA 1995 – 2003: +29%
USA 2000 – 2003: -4%
USA: THEATRES BY NUMBER OF SCREENS
Total number of Theatres in 2003 6.066
Source: MPAA
Single screen
2-7 screens (Miniplex)
8-15 screens (Multiplex)
16 or more screens (Megaplex)
2002 2003 Var. % 03/02
Single screen 1 682 1 684 0,1%
2-7 screens (Miniplex) 2 457 2 419 -1,5%
8-15 screens (Multiplex) 1 437 1 473 2,5%
16 or more screens (Megaplex) 474 490 3,4%
MULTIPLEXES IN EUROPE
MULTIPLEXES IN EUROPE
(as at 31 October 2004)
10 160 screens
in 944 sites
in 30 countries
TREND OF NUMBER OF SCREENS IN
MULTIPLEXES IN EUROPE
Screens in European multiplexes are still in the
growth but more slowly:
+6.7% between 2004 and 2003
+9.5% between 2003 and 2002
The growth of screens, especially of those located in
multiplexes with 9, 11, 16 screens and in megaplexes (sites
with at least 16 screens), is slowing down.
MULTIPLEXES IN WESTERN EUROPE:
NUMBER OF SCREENS
(as at 31st October)
2000 2001 Var% 2002 Var% 2003 Var% 2004 Var%
01/00 02/01 03/02 04/03
8 screens 1208 1376 13,9% 1448 5,2% 1584 9,4% 1680 6,1%
9 screens 1026 1179 14,9% 1314 11,5% 1395 6,2% 1449 3,9%
10 screens 950 1070 12,6% 1260 17,8% 1310 4,0% 1390 6,1%
11 screens 407 473 16,2% 583 23,3% 693 18,9% 715 3,2%
12 screens 888 1056 18,9% 1140 8,0% 1236 8,4% 1368 10,7%
10,13 screens 182 286 57,1% 312 9,1% 338 8,3% 364 7,7%
14 screens 518 588 13,5% 686 16,7% 798 16,3% 868 8,8%
15 screens 270 300 11,1% 300 - 345 15,0% 405 17,4%
>=16 screens 601 805 33,9% 1056 31,2% 1142 8,1% 1144 0,2%
Total 6050 7133 17,9% 8099 13,5% 8841 9,2% 9383 6,1%
MULTIPLEXES IN CENTRAL AND EASTERN
EUROPE: NUMBER OF SCREENS
(as at 31st October)
2000 2001 Var% 2002 Var% 2003 Var% 2004 Var%
01/00 02/01 03/02 04/03
8 screens 48 80 66,7% 128 60,0% 152 18,8% 168 10,5%
9 screens 27 54 100,0% 81 50,0% 90 11,1% 117 30,0%
10 screens 80 130 62,5% 160 23,1% 170 6,3% 180 5,9%
11 screens 22 55 150,0% 66 20,0% 66 - 44 -33,3%
12 screens 24 48 100,0% 72 50,0% 84 16,7% 96 14,3%
13 screens 26 26 - 39 50,0% 39 - 65 66,7%
14 screens 42 28 -33,3% 28 - 42 50,0% 56 33,3%
15 screens 0 0 - 0 - 15 - 15 -
>=16 screens 0 20 - 20 - 20 - 36 80,0%
Total 269 441 63,9% 594 34,7% 678 11,6% 777 13.3%
DENSITY OF SCREENS IN MULTIPLEXES IN
THE MAJOR MARKETS
In major markets, the countries with the highest density of
screens in multiplexes are United Kingdom (60.0%),
Belgium (52.4%), Spain (50.5%) and Luxemburg (38.5%).
The analysis of the situation of the number of screens
during the years shows that the percentage on the total of:
• the number of screens in multiplexes grows, but with
decreasing rates in the last four years;
• the percentage of screens in multi-screens cinemas shows a
small but constant decrease;
• the percentage of screens in single-screens cinemas records
the greatest flexion.
TREND OF NUMBER OF ADMISSIONS IN
MULTIPLEXES
The concentration of admissions
in multiplexes in Europe is growing.
In 2003, in 8 countries multiplexes account for
more than 50% of admissions
MULTIPLEXES IN EUROPE:
CONCENTRATION OF ADMISSIONS
(Western Europe)
1998 1999 2000 2001 2002 2003
A . . 48,47% 54,17% 64,12% 59,63%
B 68,21% 73,30% 75,05% 74,35% 75,90% 77,04%
CH 5,27% . 11,33% 14,00% 13,75% 17,48%
D 29,36% 32,80% 37,52% 39,74% 39,60% 40,96%
DK 16,78% 16,71% 24,97% 27,55% 30,07% 31,78%
E 29,82% 37,68% 47,56% 53,39% 59,72% 64,19%
F 30,75% 36,18% 41,15% 45,16% 47,48% 49,89%
FIN . 30,10% 36,99% 37,76% 34,84% 40,58%
I 4,32% 7,48% 13,28% 16,95% 24,86% 32,17%
L 79,74% 80,95% 78,76% 76,05% 75,04% 78,70%
N 20,61% 21,09% c. 21% 20,65% 20,19% 20,34%
NL 8,89% 11,30% 15,22% 20,23% 23,34% 30,46%
S 37,90% 38,60% 31,64% 37,84% . .
MULTIPLEXES IN EUROPE:
CONCENTRATION OF ADMISSIONS
(Central and Eastern Europe)
1998 1999 2000 2001 2002 2003
CZ 7,64% 9,43% 17,65% 28,44% 42,38% 51,74%
EE - - - 54,16% 63,88% 64,41%
HU . . . . . 45,98%
LT . . . . 34,12% 48,19%
LV - - - - - 16,70%
PL . . . . . 57,57%
RO - - 8,07% 18,61% 22,29% 24,55%
SI - - - 40,45% . 70,57%
DIGITAL CINEMA WORLDWIDE
DIGITAL SCREENS WORLDWIDE
(cinemas equipped with DLP CinemaTM projector )
In the last two years digital screens ranged from
154 (February 2003) to 291 (December 2004)
+ 89%
var % var %
February June December dec04/ dec04/
2003 2004 2004 feb03 jun04
AFRICA - - 1 . .
ASIA 51 110 136 167% 24%
EUROPE 16 37 55 244% 49%
LATIN AMERICA 7 11 11 57% -
NORTH AMERICA 79 85 86 9% 1%
OCEANIA 1 2 2 100% -
TOTAL 154 245 291 89% 19%
Source: “European Cinema Yearbook – 2004 final edition”
DIGITAL SCREENS WORLDWIDE
(cinemas equipped with DLP CinemaTM projector )
In total, the most significant increase took place in
the last 6 months
February 2003/June 2004 (16 months): +91 screens
June 2004/December 2004 (6 months): +46 screens
Considering figures by continent, the quickest increase was
registered in Asian and European countries,
while the US, the first country equipped with digital
projectors, show a much lower growth percentage.
DIGITAL FILMS WORLDWIDE
“Digital films: scarce but growing supply of
movies in a digital format”
total
1999 2000 2001 2002 2003 2004 1999-2004
Number of
films released 4 13 23 32 46 43 161
(as at December 2004)
NOTE: films released in DLP CinemaTM technology.
NEW DIGITAL TECHNOLOGIES
D-cinema is growing, standards are now being
established,
new digital technologies can offer exhibitors
new business opportunities
(both D-cinema and E-cinema):
• alternative content and film programming
for specific audiences
• digital cinema advertising
DIGITAL PROJECTION:
WHAT’S GOING ON IN EUROPE
Palace Cinemas, Czech Republic - Hungary
• 2 screens equipped with DLP CinemaTM projectors
(Palace Slovansky Dum in Prague, MOM Park in Budapest)
• Digital Hollywood films (i.e. Finding Nemo, The Day After
Tomorrow)
• Alternative contents:
• Music events: David Bowie and Bon Jovi Live concerts; DVDs premiere
(i.e. The Beatles – Concert for George)
• Sports events: UEFA Euro 2004
• DVDs projections for specialized audience: i.e Bowling a Columbine,
Apocalypse Now Redux (that probably would not have been shown at the
cinemas in 35mm)
DIGITAL PROJECTION:
WHAT’S GOING ON IN EUROPE
Arcadia, Italy
• 2 screen equipped with DLP CinemaTM projector
• Digital Hollywood films (i.e. Atlantis: The Lost Empire, Star
Wars Attack of the Clones, Pinocchio, Alien Director’s Cut, The
Day After Tomorrow, I Robot, The Incredibles)
• Alternative contents:
• Music events: David Bowie Live Concert
• Stanley Kubrick: A Life in Pictures
• Star Wars Episode II - Attack of the Clones - making of
DIGITAL PROJECTION:
WHAT’S GOING ON IN EUROPE
Kinepolis Group, Belgium
“A strategic choice: digital as an added value and
a competitive advantage”
• 10 screens equipped with DLP CinemaTM projectors in Belgium
• Digital Hollywood films (i.e. Finding Nemo, Brother Bear)
• Alternative contents:
• digital previews of Aspe series, a popular weekly TV movie series
• broadcast of TV News
• special digital screenings of local productions for the young audience
(Plop en de Toverstaf)
• broadcast of prestigious events and concerts
DIGITAL PROJECTION:
WHAT’S GOING ON IN EUROPE
Utopia Group,
Belgium, Luxembourg, The Netherlands, France
10 screens were recently equipped with DLP CinemaTM projectors
in 3 countries:
- BELGIUM: 2 screens in Utopolis Mechelen, 2 screens in Utopolis
Turnhout (October-November 2004)
- LUXEMBOURG: 3 screens in Utopolis Luxembourg (March-October
2004)
- THE NETHERLANDS: 3 screens in Utopolis Almere (November 2004)
DIGITAL PROJECTION:
WHAT’S GOING ON IN EUROPE
UK Film Council, United Kingdom
Digital Screen Network:
the world’s first large scale digital screen network with the aim of
improving access to specialised films and broadening the range of
films available to audiences throughout the UK.
UK Film Council has recently selected Arts Alliance Digital Cinema to install and
run the Digital Screen Network: AADC will provide a network of up to 250
screens throughout the UK, covering installation, training, servicing, warranties
and upgrades. Each cinema will guarantee a minimum number of specialised
(art-house/foreign language) film screenings a week in return for the equipment.
AADC will also be able to create digital cinema masters for specialised film
content and to deliver them to cinemas at a pre-agreed price.
DIGITAL PROJECTION:
WHAT’S GOING ON IN EUROPE
Capa, Norway
• Leading Norwegian cinema advertising company: conversion of
its Scandinavian network to satellite deilvered e-cinema projection,
developing a larger base of advertising clients and offering
exhibitors a reduction of reel-assembly time and more flexibility.
Carlton Screen Advertising, UK
• Leading UK cinema advertising company: investment in digital
advertising to distribute digital video contents via satellite to the
cinemas.
DIGITAL PROJECTION:
WHAT’S GOING ON WORLDWIDE
Regal CineMedia, US
• Digital Content Network (DCN): the world’s largest digital
network for the delivery (via satellite) of on-screen and in-lobby
marketing and advertising products as well as digital video
contents to over 5,000 Regal Cinemas’ screens in US:
• delivery of “The 2wenty”, the Regal CineMedia 20-minute pre-show
programme offering advertising and entertainment,
• delivery of alternative contents (HD format): simulcasting of live music
concerts and events, delivery of educational, entertainment and sports
programming.
DIGITAL PROJECTION:
WHAT’S GOING ON WORLDWIDE
China vs India
Digital vs Electronic
CHINA:
fast growth of d-cinemas, supported by local authorities:
55 D-cinemas and screens as at June 2004,
67 D-cinemas and 74 screens as at December 2004.
INDIA:
the world’s largest digital theatre country with around
130 e-cinemas in small towns and rural areas.
“DigiTraining Plus:
New Technologies
for European Cinemas”
6 - 10 April 2005, Kuurne, Belgium
in collaboration with
and with ANEC, FICE, ADN, ProjectScope
The second edition of the course devoted to digital cinema
specifically addressing European cinema exhibitors
“DigiTraining Plus: New Technologies
for European Cinemas”
MAIN TOPICS
• Introduction and general overview of the international market of digital projection:
number of digital installations worldwide, digital products, main operators,
comparison between EU, US and Asian markets, the most recent updates on the
market.
• E-cinema and D-cinema.
• The point of view of distribution on digital projection.
• Analysis of significant cases: the experiences of independent European
companies and international companies.
• Content: distribution of digital content, alternative content, advertising.
• Technical overview: projectors e servers, sound systems, installation and
monitoring, anti-piracy measures.
• Demo of digital screening: from high-definition tv to digital cinema.
• Visit to a cinema with digital installation.
“DigiTraining Plus: New Technologies
for European Cinemas”
The application form, the provisional programme
and general information on the course are available on
the MEDIA Salles’ website:
www.mediasalles.it
Course fee
• 400 euro for enrolments within 21 March
• 500 euro for enrolments after 21 March
(covering tuition, teaching material, 4-nights accommodation and meals)
www.mediasalles.it
The Course Report
of the 2004 edition
is already available on the MEDIA Salles’ website
Including the course programme, the speakers’
presentations, the participants’ comments, data on
digital cinema-going worldwide.
“DigiTraining Plus:
New Technologies for European
Cinemas”
31 March – 4 April 2004,
Kuurne, Belgium
For further information:
infocinema@mediasalles.it
www.mediasalles.it
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