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ÉCU 2014- The 9th Annual European Independent Film Festival will take place from April 4th to 6th at Cinéma Les 7 Parnassiens, 75014 Paris.

As well as the film screenings, festival attendees will have the opportunity to participate in an array of workshops as well as a series of ‘Meet the Directors‘ panel discussions, in which the audience pose questions directly to the filmmakers. There is also a full program of live music hosted by ÉCU’s partner Access Film-Music. Personalities from cinema, television and the arts, as well as filmmakers and film industry professionals, will mix with a cinema-loving public craving the energy, free spiritedness and innovation that embodies independent film.

Tonya S. Holly

Tonya S. Holly

Along with The European Independent Film Festival and Women-In-Film-In-Music and ESG Management School, HorizonVU Music has co-sponsored a study “Why, Where, What and How? Motivation Behind Film Viewership”. The preliminary results will be available and discussed throughout the Festival and during a special co-sponsored session on Sunday, 6 April at 10h30 led by Owner and CEO of Cypress Moon Productions, Inc., Tonya S. Holly. In addition to the survey results, a focus of the discussion will be on the issue of gender bias in the motion picture and music industries.

“We eagerly look forward to giving these great indie films the recognition they deserve by screening them to large audiences here in Paris,” said Scott Hillier, Oscar-honoured filmmaker and ÉCU’s founder. “In its 9th year, ÉCU continues its tradition of being a true filmmakers’ festival, in which directors develop their unique creative styles in a warm and welcoming environment.“


Survey Logo_ECUFilm, or « the movies » accounts for a significant level of economic activity around the world. Film is an important part of our lives and lifestyles influencing trends across the arts, including for example, music and fashion. While there has been a growing amount of interest and research related to film audiences and audience behavior, there is relatively little research focused specifically on independent film audiences.

The European Independent Film Festival , HorizonVU Music and ESG Management School http://www.esgms.fr/ are engaged in a large-scale project focused on the study of “why, where, what and how” people follow independent film. The study is also aligned with the Paris-based group Women-In-Film-In-Music (WIFIM).

The study is leading off with a broad based survey designed to collect demographic motivation-related information on the independent film audience. The survey is planned to take place between December 2013 and the Festival in April. Preliminary results of the survey will be made available at the Festival. This is potentially a large contribution to the entertainment industry in general, and independent film, specifically.

We hope that you will participate in this exciting effort. Participate at

https://www.surveymonkey.com/s/MotivationBehindFilmViewership

For additional information contact phillip.cartwright@horizonvumusic.com.

Phillip A. Cartwright, CEO HorizonVU Music and Professor of Economics ESG Management School

Régis Chenavaz, Régis Chenavaz, Assistant Professor of Economics Euromed Management

Once there were four majors – EMI, Sony, Universal and Warner. Now there are three. Vivendi, owners of Universal, will acquire the EMI record companies. Universal CEO Lucian Grainge on buying the EMI stated “This is an historic acquisition for UMG and an important step in preserving the legacy of EMI Music…. we will be better positioned to fully capitalise on the many new and exciting opportunities in the current marketplace, and also able to better serve our artists, songwriters and business partners, while offering fans even more choice”.

Innovations have severely impacted the music industry. File sharing software, download and streaming sites have now been in operation for years. The music industry failed to see opportunities. Internet-based innovations such as music downloading with ITunes, Amazon, Deezer and others should have been a signal of opportunities, and the market should have been investigated for the development of new services. Instead, majors began lengthy legal actions to prevent the phenomenon.

Innovation is a source of growth for majors and disruptive innovation – breaking the market status quo and establishing a new technology or leveraging an existing technology to a new dimension – is a major source of growth. In the music industry, disruptive innovation is hard to achieve because majors do not necessarily wish to upset the marketplace. Disruptive innovation might require the reorganization of the major and its personnel or the change of long-term relationships with the artist and fans.

A classic explanation of the failure to achieve disruptive innovation is the failure to launch an artist or a service into the market. This launch requires significant effort on the part of multiple players. Decisions must be made concerning “proof of concept”, pricing, availability and advertising. Successful product introductions require successful cooperation in the value chain from the artist to the fans.

Many reasons explain the difficulties for disruptive innovation. The least sophisticated, but most obvious reason is the failure to see or make sense of a significant change in the market’s environment and a willingness to craft an effective response. In the past, majors seeking disruptive ideas did not recognized them. Opportunity emerges from the connection between the majors’ capabilities and the fans’ needs. Indeed, the supply-push and demand-pull sides of the innovative process are equally important to create value.

The majors failed to recognize disruption, and started to litigate against fans who were downloading their artists. Litigation as primary and sole action is inappropriate. Whether or not the planned merger of Vivendi and EMI meets with approval of antitrust authorities remains to be seen. It may be well and good that so many wonderful artists will be under the umbrellas of three labels. What is most important for the music industry is to profit from disruption to structure new economic models in the very interest of the artists, the majors and the fans.

Visit Régis Chenavaz at sites.google.com/site/regischenavaz/

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