ROME – Siae has published on its website an article entitled "SIAE OBSERVATORY 2018: CONTINUE GROWING THE EXPENDITURE FOR THE ACTIVITY OF SHOW IN ITALY" where it emerges that the most printed book of 2018 is "Un capitano" by Francesco Totti with the collaboration of sports journalist Paolo Condò. Below is the article from www.siae.it.
Substantial maintenance of entertainment activities in 2018, which compared with the previous year shows a very slight decrease of 0.28% (-12,038 shows). On the other hand, the values of economic indicators continue to grow with spending at the box office (+ 2.91%) and public spending (+ 3.73%) in positive territory.
On the other hand, there has been a negative trend in admissions, with a decrease of 7,794,399 tickets and separate season tickets (-3.24%). This is, in a nutshell, what emerges from the SIAE Entertainment Yearbook, which every year provides a complete overview of timely and up-to-date data on cinema, theater, concerts, sports and any other kind of show in our country.
“The Yearbook presented today is proof that the Italian Society of Authors and Publishers has an extraordinary wealth of knowledge and skills that it places at the service of its members and, more generally, of those interested in having a picture of the SIAE President Giulio Rapetti Mogol declared the performance of the show and cultural consumption in Italy – Initiatives such as this testify to the vitality and strategic function of SIAE which, should not be forgotten, has as its main mission the protection of the rights of those who operate in these sectors ".
"The biggest challenge for SIAE today is the implementation of the copyright directive – added the SIAE President on the sidelines of the presentation of the Entertainment Yearbook – It is incredible that charity is being applied to the major web platforms, which are already billionaires and, moreover, American, especially since today in Italy 86% of citizens agree with us, as a survey has shown ”. Mogol then launched an appeal: "We will ask all politicians to meet. Who does not agree tell us why ”.
"Knowing the 'spectacle / entertainment phenomenon' also means above all being able to intervene to support, correct and in some way, steer the development of the sector, thus contributing to the cultural growth of our country – said Vice President Salvatore Nastasi – Thanks to Osservatorio dello Spettacolo, the SIAE not only interprets the present, but, above all, imagines the future to be ready to face the challenges of the Italian creative industry in the coming years ". Nastasi also talked about the issue of secondary ticketing and stressed that the SIAE is on the side of the government in fighting this phenomenon.
"Apart from the film industry, the Italians spent more than the previous year to attend the events, both for the purchase of tickets and season tickets, and for the accessory services offered to them by the organizers – commented SIAE General Manager Gaetano Blandini – It seems, in short, that within the spending behavior of families it remains confirmed and, indeed, the propensity to allocate an ever greater share towards cultural consumption continues to strengthen ".
In her speech, Alessandra Ghisleri pointed out that the distribution of events in the various geographical areas, which emerged from the re-elaboration of the data presented in the Yearbook by Euromedia Research, shows a marked differentiation between North and South.
At the end of the press conference, Gianni Letta, President of Civita, wanted to underline the importance of the synthesis work carried out by SIAE through the processing of statistical data on the show.
"The confirmation of the value of the Entertainment Yearbook comes from the consensus that the publication collects from the operators of the sector and from the attention shown by the institutions towards such an important sector for the economy of our country", he concluded.
Once again the results of the 2018 show were examined from two different points of view: the events of the show and the use of the works.
From a methodological point of view, the data contained in the Yearbook of the Show have a census and not a sample as the values presented are a summary of all the information gathered in the territory from the SIAE offices. The survey was conducted in the period January 2018 – February 2019 (over 14 months) to acquire and process residual information regarding the entertainment activities carried out in 2018, but recorded at the beginning of 2019.
New this year is instead the introduction in the Yearbook of an analysis on the quantity and geographical distribution of show organizers, which in 2018 are 82,641. Although they have fallen by 4.2% compared to 2017, they have shown that they have offered better quality shows, having generated growth of all economic indicators.
A first breakdown of the data also shows for 2018 a suffering in the cinematographic sector that negatively affects almost all the indicators of the show.
Excluding the data relating to the cinema, the entries return to positive with a + 0.1% and there is, compared to 2017, an important leap forward in spending at the box office, equal to 5.9%. On the other hand, the cinema sector is in contrast with the general decrease in the entertainment offer, with an increase of 21,900 shows, thus bringing the overall indicator to -0.28%.
The contrasting trend in the number of admissions released (-3.24%) and expenditure at the box office (+ 2.91%) led to an increase in the average price of 6.36% compared to 2017, well beyond the official rate inflation of 2018: on average, a ticket to access an event cost viewers 11.31 euros.
Analyzing the individual sectors, the cinematographic activity has marked a heavy contraction for the second consecutive year. All the indicators of the sector are preceded by the negative sign, except for the number of shows, which remains substantially unchanged (+ 0.70%) as well as the number of solar days (-0.11%).
In 2018 the entries were 7.9 million less than the previous year. Also the economic indicators are all decreasing: spending at the box office -6.44% and public spending -6.89%.
As a result of this, for the first time in Italy, the whole world of the film industry has united in a compact way to team up and present the cinema as a form of cultural entertainment throughout the year.
Distribution companies will guarantee the programming of spectacular and quality cinema from January to December, without interruption, with rooms open all year round. The relaunch is expected to start in the summer of 2019, with 60 titles already scheduled, including some American blockbusters.
Good recovery instead for theatrical activity compared to the previous year. All the indicators are in fact in positive territory, with an increase in the number of installations (shows + 0.62%) and of the inputs (+ 0.87%).
The economic indicators have also been improved: spending at the box office has grown by 2.06%, while public spending has increased by 2.84%. In the theatrical sector, only the ballet saw a decrease in all the indicators, after the good performance of 2017.
The concert activity – which includes classical concerts, pop music and jazz – continues on its path of growth further confirming last year's positive data. The offer of shows remained essentially unchanged (+ 0.99%), significant increases were recorded in the entries (+ 9.08%) and in the box-office spending (+ 16.25%). The sector of pop music concerts is the one that has recorded the best results with regard to admissions (+ 12.00%) and spending at the box office (+ 18.26%).
Sport consolidates the data of 2017: compared to an almost constant number of entries (-0.36%), there is a significant increase in spending at the box office (+ 7.41%) and public spending (+15, 45%).
Signs of recovery for the dance and concertini activity after the debacle of 2017. Public spending returns to positive (+ 1.35%) while spending at the box office is settled (-1.03%) and the number of shows (-5.29%), admissions (-2.20%) and admissions (-12.63%).
For the attractions of the traveling show, 2018 confirms the same growth trend as the previous year with an increase of almost all indicators: shows + 3.14%, spending at the box office + 2.82% and spending of the public +1, 31%. In contrast, admissions, which fell by 3.94%, and admissions, which fell to a minimum of 146,980 units.
In 2018, exhibition and exhibition activities recorded mixed results, with a strong growth in the number of shows (+ 14.77%), attendance (+ 62.78%) and box office spending (+ 3.30%) . The number of entries remained substantially unchanged (-0.05%), while public spending decreased (-3.46%).
The sector of activity with plurality of genders, which reports the result of the survey carried out at outdoor events, continues to grow from the point of view of the indicators relating to admissions (+ 9.33%), spending at the box office (+ 12.62%) and public spending (+ 3.29%). The number of shows, on the other hand, is down (-2.63%) and presences (-14.20%).
It should be noted that entertainment and entertainment prices in Italy have grown more than the inflation rate (which was 1.2% in 2018) in almost all sectors.
From a territorial point of view, the North is confirmed as the true engine of the country, with a conspicuous increase both in spending at the box office (+ 5.21%) and in public spending (+ 8.35%). At the Center, on the other hand, spending at the box office was more contained (+ 2.64%) and public spending even fell significantly (-4.41%). Negative sign in the South and the Islands both for box office receipts (-5.06%) and public spending (-2.68%).
Among the metropolitan cities, Milan is increasingly protagonist in almost all the entertainment and entertainment sectors. Rome still appears to be at the top for the number of events organized (over 460 thousand against the 324 thousand in the Lombard capital) but it gives up the record for the entrances (Milan has 1 million and a half more) and above all compared to the economic indicators. Milan has 404 million euros spent at the box office while Rome stops at 340. At the same time, public spending in Milan is close to 757 million against 417 in the capital.
The SIAE 2018 Yearbook also presents the rankings, for box office receipts, drawn up with reference to four show business sectors: cinema (with a general top ten and another relative only to Italian films), theatrical works, opera performances and pop music concerts. Furthermore, the same rankings are also displayed in decreasing order of number of access licenses.
It is also possible to consult the summary of the number of book marks, divided by region, issued by SIAE during 2018 and the ranking of the copies of the most printed books. The markings, affixed to the title pages of the books, are issued by SIAE, at the request of the publisher or self-produced author, to prove the exact number of printed and commercial copies. These endorsements are not mandatory and, therefore, the data relating to the circulation of books is merely indicative.
It should be emphasized that, for the first time in more than a decade, no Italian film was among the top 10 for box-office spending, but the first 3 highlighted in our country's cinema rankings have reported lower receipts of only a few thousand euro compared to the titles in the general top ten.
The blockbuster movie of 2018 was Bohemian Rapsody, while the performance at the top ten of the theater was Mary Poppins. For pop music concerts, at the top of the 2018 ranking is Eminem with the date of 7 July in the former Expo Area – Open Air Theater of Rho. For the opera, Giuseppe Verdi's Aida is in first place with 15 performances at the Verona Arena. Among the books, A captain by Francesco Totti with Paolo Condò is the most printed volume in 2018 (source www.siae.it).
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