The UNESCO Unit of the General Secretariat of the Ministry for Cultural Heritage and Activities and for Tourism (MIBACT), throughout
the designated national focal point, coordinated the multistakeholder consultation process, involving several actors and profiles concerned. Through the dissemination of information materials (about the Convention, civil society format and related links), frontal and virtual meetings, the elaboration of the Report took into account the most up to date regulatory and design elements during the four-year period 2016-2020. In fact, both the different sectors of the Ministry for Culture Heritage and Activities and for Tourism (MIBACT) operating in the field of cultural and creative industries and other relevant national institutions have contributed, through their respective mandates, to the implementation of the Convention in relation to the objectives of Agenda 2030 for Sustainable Development. Many activities have been undertaken by civil society and institutions with the awareness of the foundamental role of the cultural dimension for more general social cohesion and inclusiveness and for an effective integrated development planning of the territories (of particular importance are in fact the agreements between the central administration and the Regions, also related to the European programming and the collaboration with the ANCI- Associazione nazionale comuni italiani and AGCI- Associazione Generale Cooperative Italiane), the governance systems and the promotion of cultural and creative sectors for young people. In fact, the Report has proved to be a tool and a vehicle for raising awareness and intercepting also representatives of civil society recently established and particularly dedicated to the activities of young artists (see Cooperativa 19 and GAI) who contribute with vitality to free artistic creation (this last recognized in the Italian Constitution as a free expression of social pluralism and the involvement of local communities art. 21-29-118) and synergies with new technologies. Moreover, the progressive consultation with civil society has also allowed interaction with the sectors of creative industries particularly active and involved in the flow of cultural goods and services at national/international level, including members of the Italian Federation of Cultural Industry (Confindustria Cultura Italia) which brings together the associations of publishing, record companies, services for the enhancement of cultural heritage, multimedia, cinema, audiovisual entertainment, audiovisual publishing, on digital and online media, as well as the distribution companies of these goods and services. Among the objectives of the Federation is the protection of the collective rights and interests of the members on a national, community and international level; promoting the protection of copyright and intellectual property in all its forms; the fight against audiovisual, record, publishing and multimedia piracy in all its forms, modes of expression and manifestation. Associations linked to SIAE (Italian Society Authors and Editors) are belonging to publishing (e.g. AIE-book and digital publishing Association), music (AFI-phonographers association, FIMI- record companies, PMI-independent music producers), audiovisual (ANICA- Association of film producers and distributors and technical industries, APA-audiovisual producers, UNIVIDEO -home entertainment) and services for the enhancement of cultural heritage (AICC- Association of cultural and creative industries).
In addition, the representativeness of civil society in the entertainment sector, including Assomusica (a member of AGIS- Associazione Generale Italiana dello Spettacolo which endevelops: Federazione dello Spettacolo dal Vivo (FEDERVIVO) of reference also the national theaters and those of relevant cultural interest at public and private initiative, orchestral concert institutions, theatrical exercises, multidisciplinary circuits, festivals, concert companies, private theatrical companies, companies and theaters of innovation, companies of production, distribution, promotion and training of dance; Associazione Nazionale Fondazioni Lirico-Sinfonche (ANFOLS) which brings together twelve of the opera houses in Italy; ANEC - Associazione Nazionale Esercenti Cinema (National Association of Cinema Exhibitors, to which almost all the companies that carry out cinema exhibition activities belong; associations that work in the field of popular entertainment, such as circuses and travelling shows) and contemporary popular music and aggregate members, such as the Teatro Alla Scala in Milan, the Accademia Nazionale di Santa Cecilia, the Piccolo Teatro di Milano - Teatro d'Europa), EBU (European Broadcasting Unione) and RAI (Radiotelevisione Italiana) as a part of, and APA (Audiovisual Producers Association) worked collaboratevely at the preparation of this report. In order to increase the process of audience development with respect to the growth of awareness and information of the Convention, public and public meetings dedicated both to the dissemination and knowledge of the European cultural and creative sector (including the Creative Europe Programme) and the Convention itself have been associated. As part of the four-yearly consultation activities, the comparison with CIDU (Interministerial Committee for Human Rights- MAECI) has been particularly constant and active within which the reflections for an in-depth study on cultural rights and in particular on free artistic expression have been started. Thanks to the planning and coordination activities carried out by the Ministry of Foreign Affairs and International Cooperation (MAECI) and the reference structures, and by the network of cultural institutes abroad, in collaboration with the cultural and creative institutional sectors and civil society, numerous international cooperation projects have been launched which, in addition to promoting the mobility of artists, have helped to encourage a constant and annual exchange between different cultural sectors and organizations (including Foundations, Academies, Schools and Associations).
The UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions, adopted starting from 2005 and ratified by Italy in 2007, marked a progressive change and reflection in the implementation of cultural and creative policies and the objectives related to dialogue and international cooperation. The implementation phases of the Operational Directives and the debate carried out also in the various contexts of civil society, have accompanied and marked greater awareness also by the institutions, about the need for a positive evolution in the collective social fabric consolidated by widespread and constant awareness of the Sustainable Development objectives, promoted by the UN and expressed through the various reference agencies. In particular, to the recognition of culture and creativity as strategic and essential resources for the construction of inclusive societies, the importance of being able to re-shape cultural policies connected both to the regeneration of urban and peripheral spaces and to the promotion of contemporary cultural contents has matured, to the enhancement of artistic and creative profiles and their employment. Through integrated governance systems, the dissemination of values and expressions contribute to intergenerational knowledge and dialogue and foster common and technological languages among young people, even in the more global scenario and of international cultural cooperation.
In the 2016-2020 four-year period, cultural policies in the Italian context identified priorities and consolidated various prerogatives set by the Convention, including:
- interaction and collaboration with civil society, with respect to which a" reform of the Terzo Settore" is still underway (Ministerial Decree of the Ministry of Labor and Social Policies, n. 106 of 15 September 2020) also with respect to the issues of economy and social inclusiveness and partnerships between public and private (2017 is the year of the signing of the European Pillar of Social Rights, the first step of the institutions for the construction of a European citizenship, based not only on the market; since that time the implementing national decrees of the Third Sector Reform recognizes a decisive role in the construction of an inclusive and sustainable social and economic development model for the various Italian third sector subjects);
- the implementation of the cultural and creative industries, started from 2018, provided for the definition of “Cultural and creative enterprises” as "those enterprises or subjects that carry out stable and continuous activities, with registered office in Italy or in one of the member states of the European Union or in one of the states adhering to the" Agreement on the European Economic Area", provided that they are taxable persons in Italy, which have as their corporate purpose, exclusively or predominantly, the conception, creation, production, development, dissemination, conservation, research and enhancement or management of cultural products, understood as goods, services and intellectual works related to literature, music, figurative arts, applied arts, performing arts, cinematography and audiovisual, archives, libraries and museums as well as cultural heritage and the innovation processes connected to it ". The same legislative device was followed by a bill which gives Cultural and Creative Enterprises a decidedly more organic regulatory framework and provides for a Fund for the development of cultural and creative activities and a tax credit of 30% of the costs incurred for activities of development, production and promotion of cultural and creative products and services as well as the establishment of cultural areas so-called "artists' quarters" that municipalities with populations exceeding 100,000 inhabitants can identify urban free zones with an area not exceeding 100 thousand square meters, also including unused public buildings to be converted.
- A reflection and redefinition has been underway since 2018 regarding the scope of digital television frequencies for its reassignment to the development of new 5G technologies. Contributions are foreseen for the change in television technology. In the sector of funding for local radio and television, the new "Fund for pluralism and information innovation" will allow for the allocation of contributions based on new criteria. The complexity of "Digital and Innovation Transformation" is also pursued by the "Ministry of Economic Development" (MISE) and the "Italian Digital Agency" (AGID) which launched a three-year plan (2020-2022) on the IT strategic-model. It is worth to mention the recent and ongoing initiative (2020) of the "Digital platform for Italian culture" promoted by MIBACT;
- The launch of "National agreement for Export- Patto nazionale per l'Export" . Through MAECI, the ICE-Agency (which counts 78 offices abroad), and the Ministry of Economy and Finance, and the onsolidated coordination with CDP- SIMEST-SACE Group (which counts 12 offices around the world), as well as the collaboration with the Italian chamber system and the network of Italian Chambers of Commerce abroad, during the 2020 strategic pillars of the country's internationalization policy are identified (including communication, integrated promotion, training/information, e-commerce, trade fair system www.esteri.it/mae/resource/doc/2020/06/patto_per_lexport_finale.pdf). Primary objectives are related to: support of the "Fair trade System" and to expand the agreements in the world with the large-scale retail trade and international e-commerce platforms; and to generally facilitate the access of SMEs to the digital economy;publication of the call on Temporary / Digital Export Manager; launch, in collaboration with leading Italian universities and with the involvement of business experts, of online courses for SMEs on the issues of business digitization.
- The launch of a planning of international cooperation activities, including development cooperation that since 2017 has identified in the "Three-year Planning and Guidance Document" among the priorities: education, education for Global Citizenship but also the sector Culture, development and creative industries. The action of the Italian Cooperation in this sector is part of the European Union strategies contained in the European Agenda for Culture and in the external relations plan with third countries.
In general, priorities identified include:
- Promotion of the development of culture;
- Digitization (including the work on the digital road-map);
- Promotion of books and reading and cultural institutions;
- Contemporary creativity and urban redevelopment;
- Support for entertainment, cinema and audiovisual.
Priorities correspond to defined objectives, such as:
- Promotion and support through the enhancement in Italy and abroad of activities and initiatives of public and private entities operating in sectors of specific interest;
- Increasing of measures, initiatives aimed at improving institutional actions, also in relation to the impact on the territories;
- Development of networks, listening and discussion with stakeholders, including through the adoption of digital platforms.
| Type d'organisation | Organisation | Site web | |
|---|---|---|---|
Secteur public
| Ministry for Foreign Affairs and International Cooperation (MAECI)
| https://www.esteri.it/mae/it
| |
Secteur public
| Ministry for Cultural Heritage and Activities and for Tourism (MIBACT)
| https://www.beniculturali.it/
| |
Secteur public
| Ministry for Education, University and Research (MIUR)
| https://afam.miur.it/
| |
Secteur public
| Ministry for Economic Development (MISE)
| https://www.mise.gov.it
| |
Secteur public
| Presidenza del Consiglio dei Ministri (Presidency of the Council of Ministers)- Department of Information and Publishing (Editoria ed Informazione) and Department for Equal Opportunities (Pari Opportunità)
| http://www.governo.it/
| |
Secteur public
| Ministry of Labor and Social Policies (Agenzia Nazionale Politiche Attive del Lavoro)
| https://www.anpal.gov.it/
| |
Organisation de la société civile (OSC)
| GAI- Associazione per il Circuito Giovani Artisti Italiani
| gai@comune.torino.it
| https://www.giovaniartisti.it/
|
Organisation de la société civile (OSC)
| Cooperativa 19
| http://www.cooperativa19.it
| |
Organisation de la société civile (OSC)
| Eccom-Idee per la Cultura
| info@eccom.it
| http://www.eccom.it/
|
Organisation de la société civile (OSC)
| APA- audiovisual producers
| https://www.apaiaudiovisivo.it/
| |
Organisation de la société civile (OSC)
| EBU- European Broadcasting Union
| https://www.ebu.ch/home
| |
Organisation de la société civile (OSC)
| AGIS (Agenzia Generale Italiana per lo Spettacolo- Assomusica)
| https://www.assomusica.org/it/
| |
Secteur public
| RAI-Radiotelevisione Italiana
| https://www.rai.it/
| |
Confindustria Cultura Italia (Federazione dell'Industria Culturale)
| http://www.confindustriaculturaitalia.it/
| ||
Confindustria Radio-Televisioni
| https://confindustriaradiotv.it/
| ||
Organisation de la société civile (OSC)
| AIDA- De Iure (Journal)
| https://www.iusexplorer.it/Rivista/AIDA
| |
Organisation de la société civile (OSC)
| Fondazione Compagnia di San Paolo
| https://www.compagniadisanpaolo.it/
| |
Organisation de la société civile (OSC)
| Fondazione ISMU
| https://www.ismu.org/
| |
Organisation de la société civile (OSC)
| Fondazione UNIPOLIS
| https://www.fondazioneunipolis.org/
| |
Organisation de la société civile (OSC)
| Fondazione Con il Sud
| https://www.fondazioneconilsud.it/
| |
Organisation de la société civile (OSC)
| DoppioZero Association
| https://www.doppiozero.com/
| |
Organisation de la société civile (OSC)
| Fondazione Terzo Pilastro-Internazionale
| https://www.fondazioneterzopilastrointernazionale.it/
| |
Secteur public
| ISTAT- Istituto Nazionale di Statistica
| https://www.istat.it/
| |
Organisation de la société civile (OSC)
| Fondazione Symbola
| http://www.symbola.net/
| |
SIAE- (Società Italiana Autori ed editori)
| https://www.siae.it/it
|
| Year 2017 - Added value of the Italian Cultural and Creative Production System by sectors (Mln. Euro) | |
| Creative Industries: | 13 404.80 |
| Architecture e design: | 8 594.80 |
| Communication: | 4 810.10 |
| Cultural Industries: | 33 608.50 |
| Cinema, radio and TV: | 7 466.50 |
| Videogames and software: | 12 011.90 |
| Music: | 320.70 |
| Publishing: | 13 809.30 |
| Performing Arts: | 7 932.90 |
| Artistic and historical heritage: | 2 823.70 |
| TOTAL CORE CULTURE: | 57 769.90 |
| TOTAL CREATIVE DRIVEN (b): | 34 479.90 |
| TOTAL Productive Cultural and Creative system: | 92 249.80 |
| Year 2018 - Added value of the Italian Cultural and Creative Production System by sectors (Mln. Euro) | |
| Creative Industries: | 13 783.80 |
| Architecture e design: | 8 861.10 |
| Communication: | 4 922.80 |
| Cultural Industries: | 35 111.80 |
| Cinema, radio and TV: | 7 452.10 |
| Videogames and software: | 13 600.10 |
| Music: | 319.20 |
| Publishing: | 13 740.30 |
| Performing Arts: | 8 210.70 |
| Artistic and historical heritage: | 2 858.10 |
| TOTAL CORE CULTURE: | 59 964.40 |
| TOTAL CREATIVE DRIVEN (b): | 35 794.30 |
| TOTAL Productive Cultural and Creative system: | 95 758.60 |
According to "Io sono Cultura 2019" Report (source Symbola Foundation https://www.symbola.net/ricerca/io-sono-cultura-2019/) economic accounting data of cultural and creative system, relating to added value and employment, testify to the contribution of this heterogeneous and transversal sector, which in 2018 confirmation (including both the core and creative driven components in the figures) very significant numbers and performances, with a product added value that touches upon 96 billion euros, still growing (and even more than the previous year) by + 2.9% (at current prices) compared to 2017, where the total economy marks an estimated + 1.8%. These economic results led to a contribution from the System to the total gross product equal to 6.1% (in 2017 it was 6.0%) and denote a growing ability of the system to create value (in which the core component represents 3.8%), beyond the already observed ability to generate and maintain employment
in the previous years. More specifically, creative industries break up in the architecture and design subsector, which produces 8.9 billion euros in value added and represents 0.6% of the total product, and in that of communication, which in 2018 produced 4.9 billion euros corresponding to a weight on the total of the economy of our country by 0.3%.
By breaking down the values of the cultural industries, it is that of publishing and printing the most consistent sector in terms of product (13.7 billion euro, 0.9% of product total economy) but has now almost been reached by the extremely dynamic video games and software sector (13.6 billion euros, also in this case corresponding to 0.9% of the total added value). Cinema radio and television have generated 7.5 billion in added value, while the sector is located at a great distance of music (€ 0.3 billion), from which it is recalled the related activities are excluded to concerts and live performances, located within the performing arts.
The employment data confirm the picture just outlined with some differences dictated for example by the different levels of productivity of the sectors, evident for example in the comparison between publishing and printing and video games and software, more distant in terms
of employment (257 thousand employed against 178 thousand) compared to what they are in terms of value added product. Even cinema, radio, TV, even for one employment in which the contribution of workers used on an intra-annual basis is high (such as in cinema), there is a lower share of employment with respect to added value product (56.5 thousand units, equal to 0.2% of total employment). As part of the
creative industries (which see a contribution of 1.1% to total employment) the contribution supplied in terms of work is equal to 157 thousand units for architecture and design, and almost 110 thousand employees for the communication sector. The results of the Cultural Production System and Creative of 2018 compared to 2017 are overall positive, with particularly encouraging increases in terms of added value, whose performance exceeds the total economy (+ 2.9% against + 1.8%) must to creative driven activities (+ 2.9%), but also to the Core component (+ 2.7%), driven from particularly dynamic sectors (and which confirm positive results over the years recent) of creative industries such as design (+ 4.3%, when considered jointly architecture + 2.2%) and even more markedly in cultural industries from video games and software (+ 12.0%).
Production dynamics are also worth noting of the performing arts (+ 2.5%) as well as the performance of assets worthy of note
historical-artistic that highlights an ability to create value, highlighting + 0.6% of added value compared to + 0.1% of occupancy. Negative changes they are registered for music (-1.2%), for publishing and printing (-1.4%) and for cinema, radio and television (-2.6%). Employment also shows an overall positive variation of + 1.5% in comparison with a figure that for the entire economy is + 0.9% and consistent trends
for the sectors compared to what was seen for the added value produced and a rate an increase of + 1.8% for creative driven and + 1.4% for the component core, within which video games and software stand out (+ 7.5%), design (+ 4.0%) and performing arts (+ 2.4%).
| Year 2017: Employment the Italian Cultural and Creative Production System by sectors (Absolute values in thousands of employees). | |
| Creative Industries: | 260.8 |
| Architecture e design: | 153.2 |
| Communication: | 107.6 |
| Cultural Industries: | 488.3 |
| Cinema, radio and TV: | 56.7 |
| Videogames and software: | 163.6 |
| Music: | 6.1 |
| Publishing: | 261.9 |
| Performing Arts: | 140.8 |
| Artistic and historical heritage: | 51.0 |
| Total core culture: | 940.9 |
| Total creative driven (b): | 579.3 |
| Total Productive Cultural and Creative system: | 1 520.2 |
| Year 2018: Employement the Italian Cultural and Creative Production System by sectors (Absolute values in thousands of employees). | |
| Creative Industries: | 266.6 |
| Architecture e design: | 157.1 |
| Communication: | 109.6 |
| Cultural Industries: | 497.4 |
| Cinema, radio and TV: | 56.5 |
| Videogames and software: | 177.6 |
| Music: | 5.9 |
| Publishing: | 257.3 |
| Performing Arts: | 144.8 |
| Artistic and historical heritage: | 51.0 |
| Total core culture: | 959.8 |
| Total creative driven (b): | 591.4 |
| Total Productive Cultural and Creative system: | 1 551.2 |
The employees of the Cultural and Creative Production System in 2018 are 1.55 million, also growing by 1.5% compared to 2018 compared to + 0.9% recorded for the total economy, confirming a contribution to employment overall of the country equal to 6.1%, within which also in this case the core component constitutes 3.8% and that of the transversal universe of activities creative driven 2.3%. Specifically of the absolute values, the cultural industries they represent about a third of the Cultural and Creative Production System produced in 2018
35.1 billion euro of added value (corresponding to 2.2% of the total product national), through the employment of nearly 500,000 employees (2.0% of total employees, in 2017 it was 1.9%). Next, we find the weight of the creative industries, capable to generate 13.8 billion of added value and to employ almost 267,000 employees, values that compared to total economic activities have an equal impact,
respectively, 0.9% and 1.1%. The third sector by weight is that of the performing arts, capable of producing 8.2 billions of euro of added value and to employ almost 145 thousand people. The activities of finally, conservation and enhancement of the cultural heritage produced € 2.9 billion of euro of added value (up significantly compared to 2017) and 51 thousand employees.
As for the types of employment, the dependent form (67.1%) predominates than the autonomous one. However, the share of employees appears lower than that recorded for the rest of the economy (78.1%), which underlines the greater inclination of employees in the cultural and creative sector to prefer more flexible forms of employment.
This is especially true for core businesses, where the share of unsubordinated employment is equal to 42.0%. This value is reduced by up to 18.7% for the professions of cultural and creative transfer to sectors not belonging to the supply chain. Of the subordinate figures, 86.4% have a permanent contract and, specularly, 13.6% declare that they have an “expiring” contract. It deals with of a composition similar to that reported in the rest of the economy and better than that registered in 2017; however, the cultural and creative professions that operate in the Core, they record a greater incidence of time-based contracts determined (16.5%), also and above all due to the presence of some types of employment inherent in a temporary employment relationship (think of professionals active in the performing arts).
| Year 2017 - Share of general government expenditure on cultural services 0.6% (2017) | ||||||||||
| Source: Eurostat | ||||||||||
| https://ec.europa.eu/eurostat/documents/3217494/10177894/KS-01-19-712-EN-N.pdf/915f828b-daae-1cca-ba54-a87e90d6b68b | ||||||||||
| Year 2019: Share of culture in government expenditure of State Administrations (Ministries) 0.3 % - 2019 | ||||||||||
| Source: Ministero dell'Economia e delle finanze MEF | ||||||||||
| (http://www.rgs.mef.gov.it/VERSIONE-I/pubblicazioni/pubblicazioni_statistiche/la_spesa_delle_amministrazioni_centrali_dello_stato/). | ||||||||||
The D.P.R. 14 May 2007 n. 89 confirms, in art. 2, the four advisory committees responsible for each sector of live entertainment. These Commissions - within the scope of the competences attributed by the institutive norm and by the regulations regarding the criteria and methods of disbursement of contributions in favor of the various entertainment activities - have an advisory function in order to evaluate the qualitative aspects of the projects and initiatives relating to requests for contributions in the areas of their respective competence. The advisory commission for music also has advisory functions in relation to the evaluation of the qualitative aspects of the activity programs of the lyric-symphonic foundations.
The Commissions are divided by sector. Its members are three appointed by the Minister, one by the Permanent Conference for relations between the State, the Regions and the Autonomous Provinces of Trento and Bolzano and one by the State-city and local autonomies Conference.
The members are also chosen from among highly qualified experts in the areas of competence of each of the Commissions, through a public procedure.
The "Advisory Working Group for the Promotion of Italian Language and Culture Abroad" was set up. A deliberate initiative of the Country System (Sistema Paese) General Directorate of the Ministry of Foreign Affairs and International Cooperation (MAECI).
The work of the Consultative Group is coordinated by the MAECI and saw the participation of numerous institutional subjects including representatives of the Accademia della Crusca, of the CGIE (Italian General Council abroad), the CRUI (Italian University Rectors Conference), Societa Dante Alighieri, Eduitalia, MIBACT (Ministry for Cultural Heritage and Activities and Tourism), MIUR (Ministry of Education, University and Research), RAI Italia, Unitalia and Universities for Foreigners.
In particular, various topics are discussed pursuing the goal, as reported by Eduitalia in a note, is to continue to give strong support the cultural contents proposal to the international public.
Speaking of initiatives in 2021, there will be numerous those planned worldwide to commemorate Dante Alighieri, whose 700th anniversary of his death will occur. Furthermore, the XX Week of the Italian Language in the World entitled "The Italian between word and image: graffiti, illustrations, comics" was attended by the main Italian cartoonists who, with their exceptional works, will contribute in their own way to promoting Italian culture. The awareness is that both comics and graphic novels are two genres very much appreciated especially by young people from the Asian, European and North American world and both constitute an interesting vehicle for promotion.
In the framework of the monitoring of cultural policies, the PanoramaSpettacolo Project (http://www.spettacolodalvivo.beniculturali.it/index.php/osservatorio-del...) is developed with the intention of producing territorial statistical information that supports the definition, monitoring and evaluation of policies and interventions in the cultural sector.
The PanoramaSpettacolo Project originates from a Memorandum of Understanding signed between the Ministry for Cultural Heritage and Activities and Tourism and the Italian Society of Authors and Publishers (SIAE). With the Memorandum of Understanding, SIAE undertakes to provide the Observatory of Entertainment of the Ministry for Cultural Heritage and Activities and Tourism with geo-referenced data relating to entertainment activities in Italy.
In the research documents produced as part of the PanoramaSpettacolo Project, territorial analyses of the supply and demand for entertainment are proposed, carried out using a GIS (Geographical Information Systems) survey tool and tools of statistical methodology. The PanoramaSpettacolo Project was included, as a Project Study, in the National Statistical Program for the three-year period 2017-2019 prepared by ISTAT, and is present in the National Statistical Program for the three-year period 2020-2022 prepared by ISTAT. The research documents project are produced within the well-known "Osservatorio dello Spettacolo- Observatory for the Performing Arts"of MIBACT with the tasks:
?collect and update data and news relating to the performance of the show, in its various forms, in Italy and abroad;
? Acquire elements of knowledge on the overall annual expenditure in Italy, including that of the regions and local authorities, and abroad, destined for the support and incentive of entertainment;
? to elaborate documents of collection and analysis of such data and news, which allow to identify the trend lines of the show as a whole and of the individual sectors of it on national and international markets.
The law requires the MIBACT to prepare an annual report on the state of implementation of the interventions with reference to the economic, industrial and employment impact and the effectiveness of the tax concessions provided for therein.
The evaluation on the state of the measure approached at methodology which is based on a macro-micro model aimed at providing:
* the assessment of the overall impact of the law on the entire film industry and audiovisual (macro),
* the evaluation of the effectiveness of the individual support measures provided for by law (micro).
This dual evaluation model forms constitute a first basis which can and it will have to be further integrated and updated upon the actual implementation of the analysis impact. For the "macro" component, general sectorial indicators have been identified on the basis of research conducted in countries comparable to ours according to the approach that Olsberg SPI has used by for similar evaluations. For the "micro" component, specific indicators have been developed for each individual measure of support, based on the specific objective of the measure in question, of the principles set out in Article 3 and of the objectives referred to in Article 12 of the law. The micro-indicators were further classified as common, i.e. applicable to the assessment of all individual measures or specific,constructed and applied to each specific measure, its nature and its objectives.
The effort of Italian state to support the production of audiovisual local production is relevant and has increased over the last years, trying to cope with the decreasing resources from the market (cinemas, homevideo, etc.).
The approved "Discipline on cinema and audiovisual" entered in force and imposes higher quota of national/EU movies and audiovisual products on national TV programming schedule, asking also for programming slots more relevant, in order to avoid temptative to foolish the law, programming national/EU movies in impossible hours.
But the biggest effort has still to come, with the transposition into Italian legislation of two important EU directives, that will have a direct impact on cinema, audiovisual, advertising and publishing industry: revised AVMS Directive and revised copyright directive. In the first one the most important revolution is the introduced possibility for single EU states to impose a mandatory contribution from Internet Platforms to the funding of local productions and contents.
In the second one is the possibility, left to single states, to impose collective agreement between publishers and internet platforms to remunerate the newspapers and publishers when their contents are made available over the Internet. Italian authority for Communication (AGCOM) is closely monitoring the situation through its own observatory and regularly publishes reports on the evolution of situation. According to a Sportcal study published in 2019 in Italy there were already 8 million subscribers to streaming platform such Netflix, Amazon prime and DAZN. According to all sources these numbers have grown exponentially during the lockdown for movies and fiction platforms (Netflix, Amazon, plus the newly launched Disney). So the possibility to introduce mandatory contribution or to negotiate agreements for local investment by Netflix and other OTT in Italian creative contents, is producing high expectations that could probably produce an impact in the years to come for the world of Italian audiovisual production
(This forecast of PWC (elaborated in 2019, before the Pandemy) gives the relevant trends in the sector https://www.pwc.com/it/it/publications/entertainment-media-outlook/2019/...).
The system of Higher Education in Art, Music and Choreutics (AFAM) is governed by Law 508 of 21 December 1999, a law that reformed the sector of artistic education, defining it as "higher education of a tertiary and specialist nature". In this way, the law acknowledges the constitutional provision which, in article 33, provides for the system of artistic training parallel to the university system. The data on the AFAM system are systematically collected through an annual statistical survey, of a census nature, conducted at all the AFAM Institutions.
The survey, envisaged by the National Statistical Plan (PSN), aims to provide information to support the national and international monitoring and evaluation activities of the tertiary training system ( https://www.miur.gov.it/web/guest/rilevazioni-sulle-istituzioni-afam).
The following are surveyed:
# the training offer according to the different systems,
# students enrolled, enrolled and graduated by course of study,
# the teaching and non-teaching staff;
# the international mobility of students and teachers
# student contributions and interventions in favor of students.
All those enrolled in AFAM and pre-AFAM courses (pre-academic level) at the state and legally recognized Fine Arts Academies, the State and equal higher institutes of musical studies (ISSM), the National Academy fall within the scope of the survey of dramatic art, the National Dance Academy, the Higher Institutes for the artistic industries (ISIA) and the Institutions authorized to issue Higher Education in Art, Music and Dance .
In addiotion, with the "National Cinema Plan for Schools", language, history, production film are fully included in the educational offer plan of the schools of every order and degree. The MIBACT and the MIUR have promoted competition and fundings for the creation of didactic-educational tools and initiatives raising awareness and training of students through the use of language
cinematographic and audiovisual.
Monitoring activity is periodic: every two years the Chairs must produce and send to UNESCO National Commission and the Secretariat a report on the activities carried out, while at the end of the four-year period they must submit a report including the budget for any refinancing.
The permanent Observatory on the innovation of audiovisual media services (hereinafter the Observatory www.agcom.it/osservatorio-innovazione-servizi-media ) was established with resolution no. 482/14/CONS of 23 September 2014, and in implementation of the provisions of the Authority in art. 1, paragraph 2, of resolution no. 457/16/CONS of 14 October 2016, containing "Identification of the codes (standard codes for the reception of programs in DVB-T2 technology) which must be considered" technologically outdated, AGICOM provides for the periodic monitoring of the state of development and spreading of the new transmission standards (DVB-T2) and signal coding (MPEG2, MPEG4, HEVC, etc.) for the digital terrestrial television broadcasting service. The Observatory holds periodic technical meetings in the presence of the associations representing companies in the national and local audiovisual and radio media sectors (Confindustria Radio Televisioni, Aeranti-Corallo, HD Forum Italia) and the national associations of electronics manufacturers (ANDEC Confcommercio, ANITEC Confindustria). Within the framework of the Technical Roundtable, the methods for implementing the monitoring are also discussed, with specific regard to the identification of the data to be included in the perimeter of the surveys, the frequency of implementation of the same and the persons in charge of providing the information.
The Confindustria Radio Televisioni implements its objects through technical commissions board as well as by evalutation and analsys ( https://confindustriaradiotv.it/studio-economico-tv-3/). In addition, the monitoring of radio and television content is part of the AGICOM operating procedures .
Sectors of telecommunication, media, leisure and entertainment in Italy are among the most globalized and digitized within EU and this has produced already an huge impact on local industry and on local professions.
In the Telecom sector for instance all the first bigger TLC providers are part of multinational groups (Vodaphone, Bollore, Swisscom, ...) and there are no more national champions. Consequently the offer of services and contents they provide in the market is aligned with the rest of the EU market offer. In the media sector since 2019 printed media are declining dramatically in revenues and diffusion, while all forms of electronic consumptions are booming (+13% for videogames against -5% for magazines). The impact of global digital platform in the advertising market has been even more relevant. In only 10 years, digital advertising has grown from zero to 38% of the market in 2019 and in 2020 will become the first form of ads, bypassing TV market. As in the rest of Europe, 95% of digital advertising market is controlled by US giants such as Google, Facebook and Microsoft. This means that most of the resources spent in Italian advertising are not anymore being reinvested in local media and local production, but simply flow away from the country, leaving the whole creative industry sector that lives of advertising poorer and with less resources.
Jobs in the advertising sector, in printed media, in TV and radio are declining dramatically in a very fast mood and consolidation and vertical integration among industries and companies of these areas (printing, electronic media, etc.) is exploding, with huge consequences in terms of redundancies and "efficiency plans" and a consequent shrinking of employment.
More recently (but statistics are not yet available to show in numbers) also the cinema industry is heavily suffering from the same phenomena. The forced closure of cinemas during the lockdown has reduced the capacity of self-financing of cinema industry, that has become more and more dependent from state support (see chapter on FUS later in the report) and from few big clients (national TV companies such as Mediaset and RAI), that are becoming weaker because are losing advertising revenues.
Based on all these indicators the perspective for the future of creative industries in Italy (and especially in media, advertising and cinema sector) look gloomy and Government is looking for remedies, in the wider EU contest (https://www.pwc.com/it/it/publications/entertainment-media-outlook/2019/...).
Among the functions attributed to the Central Institute for the Digitization of Cultural Heritage, "Digital Library" is the evaluation of the status of the digitization projects implemented by the Ministry offices and monitors the consistency of the digital resources available. Furthermore, MIBACT promoted the OPEN-DATA project http://dati.beniculturali.it (2016-2020) aimed at the production of an ontology format relating to the personal data and services of cultural institutes and places and the description of cultural events prior to publication in "Linked Open Data" format of the datasets on cultural places and events relating to:
-about 8000 between archaeological areas and parks, monuments, monumental complexes and other permanent exhibition structures intended for public use Cultural events (exhibitions, conferences, conventions, seminars, catalog presentations, etc.) organized by MIBACT and peripheral Institutes. One of the results of this first phase of the project is the Cultural-ON ontology (drawn up in the context of the Convention between the Directorate General- Organizzazione (MIBACT) and the Institute of Cognitive Sciences and Technologies of the National Research Council ( ISTC-CNR) and the publication of datasets of Places of Culture and Cultural Events (DG Organization), Registry of Italian Libraries (ICCU), State Archives (ICAR) and Institute for the Cataloguing and Documentation (ICCD). At the same time, the MOVIO-kit will take into account the findings of the publication titled Guidelines for staging online virtual exhibitions, a major achievement borne out of a cooperative effort involving the Central Institute for the Union Catalogue of Italian Libraries (ICCU) and the Central Institute for Archives (ICAR), in collaboration with the Technological Observatory for Cultural Heritage and Activities (OTEBAC). The publication aims to illustrate the state of the art in the field of online virtual exhibition based on the concrete experiences of various Italian institutes and an analysis of similar initiatives on the international stage.
More generally, the process of digitalization of contents that is going on at the global level, of course has a big impact also in Italy, a country were digitalization is rapidly advancing, but not in an homogenous form. In the EU DESI index https://ec.europa.eu/digital-single-market/en/desi, Italy is at 21st place in the ranking of digital penetration. But this result is an average between sector that have been already transformed by digital revolution and others that are still mainly working in the traditional form.
The Italian narrative increased the trend (up 1.7%) and foreign (down 1.4%), to drive book sales with 35.9% of the market. It follows, with good performances, non-fiction (+ 0.8%) and manuals (+ 0.4%). On the other hand, the growth of children is stabilizing: in 2018 children's fiction recorded -0.9% compared to the previous year. However, children's fiction remains
driving force in Italian publishing. This sector is in fact the second segment of greater weight for market turnover of various (after fiction), with an overall value equal to 235.8 million euros (excluding Amazon). And if Italian publishing always meets
greater success in the international arena, first for the export of rights appears to be precisely the sector for children and young people with 39% of all Italian rightssold. Also in the context of co-editions, an important factor of internationalization
of our publishing industry, the contribution of children and young people is a driving force with 62.7%. The increasingly broad and strong appreciation for the work of authors and editors Italians for children also depends on the increasing ability to be present in international market, thanks to the organization of trade fairs that become important opportunities for exchange and knowledge. The largest publishing fair for children and teenagers in Italy is certainly the "Bologna Children's Book Fair" which, too in the last edition of April 2019, it saw the participation of exhibitors from worldwide. Latest data presented at the last "Salone del Libro" of Turin, revelead that there are more readers in spite of less-buy books. Reading books (novels, genre fiction, graphic novels, manuals and non-fiction) between 2018 and early months of 2019 (March) grew from 58% to 60% between 14-75 year olds. People who declare themselves readers, not only of books, but also of ebooks or audio books, pass
60% to 64% of the representative sample (https://www.symbola.net/ricerca/io-sono-cultura-2019/)
To monitor the Italian situation with respect to the 17 Sustainable Development Goals, ASviS in September 2017 developed a series of original and innovative statistical and analytical tools. The data is constantly updated, always inserting new and better indicators on the 17 SDGs, as they become available. The "Asset platform", is the graphical analysis system used by ASviS which allows you to view the values and trends of over 230 basic indicators, mainly from Istat sources, divided by single Objective. The platform allows you to view each indicator in three ways: graphs, maps and tables. It is also possible to download time series, export data, perform comparisons between regions and macro-regions on multiple indicators, including those of different Goals. The platform contains the updated data for the 2019 Report (https://asvis.it/database-sugli-sdgs/).
Istat (Italian Statistics Institute) updates to 2018 the information on the number of non-profit institutions active in Italy and their main structural characteristics from the data of the statistical register. In the strategy of permanent censuses, launched by Istat in 2016, the register is updated annually through the integration of different administrative sources, while every three years, information on the sector is completed by sample surveys. In this way, both the necessary depth and articulation of the structural information framework and the analysis in historical series are guaranteed. The non-profit sector confirms its growth. As at 31 December 2018, there were 359,574 non-profit institutions active in Italy and, in total, 853,476 employees. The number of non-profit institutions increases with average annual growth rates substantially constant over time (around 2%) while the increase in employees, equal to 3.9% between 2016 and 2017, stands at 1.0% in the two-year period 2017-2018. Compared to the total of companies in industry and services, the incidence of non-profit institutions continues to increase, going from 5.8% in 2001 to 8.2% in 2018, unlike the weight of employees, which remains almost stable (6.9%).
In its 18th edition, Movin'Up is the principal Italian program supporting the international mobility of artists and cultural operators in the visual arts and performance: art, photography, video, architecture, design, music, cinema, theatre, dance, performance and writing.
As the result of a collaboration between the MiBAC (DGAAP, DG Museums and DG Performance) and GAI (Associazione per il Circuito dei Giovani Artisti Italiani), as part of the DE.MO project, the project implemented:
- the support the international promotion of the work of Italian artists through real opportunities to achieve visibility and publicity;
Assupport the production of the most interesting innovative and multidisciplinary projects, stimulating the spread of national artistic research throughout the world;
- favouring the participation of young people in educational programmes organised by foreign institutions offering concrete occasions for artistic and professional growth.
In past editions a total of more than 430 prototypes have been selected, designed by 140 designers, for the exhibitions held at the Galleria Civica in Modena, the Palazzo delle Esposizioni in Rome, the Macef in Milan, Castel Sant'Elmo in Naples, the MAXXI in Rome.
Among these, some were produced by specialized companies or self-produced by the designers themselves and presented at the Milan Triennale, Museum Expressions in Paris and Open Design Italia in Venice and Trento, as well as sold in various bookshoops, including those of the Venice Biennale, of the Mart of Trento and of the Madre of Naples.
The program has made it possible to support 667 out of 2,050 projects presented [visual and sound arts (approx. 45%), theater - dance - music (approx. 40%), others (approx. 5%)], for a total of over 1,200 artists and has awarded through a specific call 4 Residency Scholarships for artists in the visual arts sector at prestigious international institutions.
Within the monitoring and evaluation activities the General Directorate- Contemporary Creativity promoted a data platform from the "Archivi della video arte e dei film d'artista in Italia" (Archives of Video Art and Art Films in Italy). The project monitors collections of video and film works and documents (from 1965 to the present) conserved across Italy by public and private institutions to ensure their communication, conservation, valorisation, promotion, preservation, access and cataloguing.
Numerous researches has developed to specific and targeted projects, functional in all areas of action: art, architecture and suburbs (http://www.aap.beniculturali.it/eng/rapporto_attivita_15_17.html). The synergy between art and architecture and their osmosis has generated in recent years a positive creative energy, even collective, which has allowed the implementation of processes characterized by a strong ability to trigger precisely in places where social cohesion is to be favored. The suburbs, the urban space, the city have therefore been the field of action for the cultural growth of the territories, so that the country best expresses its national identity in the context of contemporary creativity and this is best exploited and on a par with what happens in the international field.
Since 2017, Italian design companies appear numerous: more than 30 thousand with employment to 50,226 workers. Compared to the previous years , both employees (+ 1.9%) and businesses (+ 5.6%), as well as turnover (3.8 billion EU) grew at a rate higher than the EU average (+ 0.9% against + 0.6%) . This is also attested by the success of the " Triennale International Exhibition in Milan", the inauguration of the first Italian "Museum of Design" ( at the Milan Triennale), and the success of the "Salone del Mobile", which recorded 12.5% more admissions than the latest editions.
Interest in photography in Italy has grown thanks also to proliferation of events, spaces, fairs and festivals including the most significant "MIA Fair". From 2020 we are witnessing, in Turin, the birth of a photography Festival built with the participation of public and private bodies and the support of local authorities.
The Italian Council is a project born in 2017 with the specific task of promoting the production, knowledge and dissemination of contemporary Italian creation in the field of visual arts. For the first five editions, the Italian Council financed 40 projects proposed by museums, public and private non-profit bodies, universities, foundations and committees and non-profit cultural associations which involved the production of one or more new works of art by an Italian artist, with the ultimate aim of increasing the public collections, after a period of promotion abroad. Since April 2019, the Italian Council has renewed itself by encouraging the development of talents and the international promotion of Italian artists, curators and critics, by financing projects that involve the participation of artists in international events or that provide residencies abroad for artists, curators and critics or aimed at the realization of monographic exhibitions at foreign cultural institutions or editorial projects dedicated to contemporary Italian art. The Italian Council is more inclusive, as it opens to the participation of artists, curators, critics, as long as they are supported by cultural institutions, and aims more strongly at the promotion of Italian art in the world. For this reason, each project must necessarily include collaboration with international cultural realities and / or a promotion phase abroad. The requested funding cannot exceed 80% of the total amount, with a maximum ceiling that varies according to the type of project presented. The projects admitted for funding are selected by a Commission composed of members of high scientific profile and by national and international experts from the world of contemporary art.
The Performing Arts Observatory (https://www.siae.it/it/chi-siamo/lo-spettacolo-cifre/losservatorio-dello...) is the study and data collection center of the Italian Society of Authors and Publishers (SIAE). The task of the Observatory is to monitor the activity of the show and entertainment in Italy at 360 degrees with analyzes that involve concerts, cinema, theater, opera, musical comedies, dance, exhibitions, sports, attractions of the traveling show; a very important activity that provides fundamental information and keys for understanding and interpreting the state of industry in Italy. The Performing Arts Observatory regularly publishes the statistical analyzes processed; regular publications include the Statistical Yearbooks of the Performing Arts from 1936, the Semester Trends from 2006, the Seasonal Trends of the Entertainment and the "Five Years of Cinema project".
FIMI (Federation of the Italian Music Industry) was founded in 1992, it is a founding member of Confindustria Cultura Italia and a member of IFPI (International Phonographic Industry Federation). FIMI operates a daily monitoring service of national and international legislative procedures of interest to the category it represents. It produces reports and legislative proposals, interfaces with the representatives of the major national and local institutions. Through the representation of IFPI, FIMI operates in an international network also, collects and disseminates sector data and research (https://www.fimi.it/mercato-musicale/dati-di-mercato/), both nationally and internationally, to allow companies to know the trend and development of the market. Associated companies can access economic data and studies carried out by the most important research companies.
Trending over the past few years, streaming continues to lead revenue, which grew 34%, and now accounts for nearly half (47%) of total record industry revenue, driven by a 32.9% increase in streaming subscriptions for a fee.
In 2018 there were 255 million users of paid streaming services, representing 37% of total recorded music revenue: this is a growth that more than offset the 10.1% decline in physical revenue and 21.2 % of those related to the download.
The year just ended also confirms the recovery of the Italian recording market with + 2.6% and 228 million in turnover (IFPI data): in Italy too it is the streaming segment that is driving this growth, accounting for almost half of the market ( 41%). Premium streaming subscription services are growing, marking + 55.4% compared to the previous year, while between 2013 and 2018 digital has gone from covering 32% of the market (physical + digital) to 63%. The balance of performance rights (+ 2.9%) and synchronization (+ 7.9%) was also positive.
In 2020 it turned out that the music sector was mainly driven by digital, which alone accounts for 86% of all industry revenues. Of this segment, 82% is represented by streaming, which generated 68 million euros in the first six months of 2020: this is a substantial leap compared to the end of 2019, in which it represented 66% of the total. The growth is marked, above all, by streaming subscriptions, which mark + 33% in the first six months of the year.
In the first half of 2020, the entire recording market (mkt + synch) generated about 88 million euros, growing by 2.1% compared to 2019: a result obtained thanks also to the revenues derived from the 18app culture bonus, which developed a turnover of approximately 10 million euros (August 2020) against the involvement of 390,000 young people participating in the initiative.
The " Per chi Crea" project have set in motion a considerable flow of creative energies, even if only at the level of creative and planning commitment, considering that a total of 5,250 projects were presented in the three years, corresponding to an annual average of 1,750 projects. The 927 winning projects in the three-year period were developed in these sectors: 45% music, 24% cinema, 15% theater and dance, 8% book and reading; 8% visual, performing and multimedia arts. Over the three editions of the SIAE-Mibact calls, nearly 8,000 artists were actively involved, and, as regards the 2018 edition (the first with a call dedicated exclusively to primary and secondary schools), nearly 27,000 students.
Specific surveys and analyzes that include the museum sector in Italy have been prepared by ISTAT and accessible at the following addresses:
- https://www.istat.it/it/ archive/237159
- https://www.istat.it/it/ archive/226510
- https://www.istat.it/it/ archive/167566
Furthermore, data and surveys on access to cultural sites, museums, monuments, state archaeological areas are also accessible through the website of the MIBACT Statistics Office (http://www.statistica.beniculturali.it/Index.html).
The data collected up to 2020, reveal that in relation to the sector and the type of cultural product, the total bonuses found are 1,562,039 for a total validated amount of 80,490,669.90 euros.
Below are the sectors and the type of product envisaged by the measure:
Cinema- Subscription card/Entrance Ticket/Audiovisual publishing Products
Concerts- Subscription card/Entrance Ticket
Cultural Events- Entrance tickets to cultural festivals and fairs/entrance tickets to the circus
Training- Foreign language courses/Music courses/Theater courses
Books- Audio book/Books/Ebook
Museums, monuments and natural parks and archaeological areas: subspcription card/Entrance ticket
Recorded Music- CDs/Music DVDs/Vinyl Records/Online Music
Theater and Dance- Subscription card/entrance ticket
Art. 12, paragraph 6, of law no. 220 of 14 November 2016 provides that the Mibact prepares an annual report on the state of implementation of the interventions referred to in the law with reference to the economic, industrial and employment impact and the effectiveness of the tax benefits provided therein.
The report must include an assessment of the policies to support the film and audiovisual sector through tax incentives.
Art. 27, paragraph 1, letter h), of law no. 220 of 14 November 2016 provides that the Mibact, under the Cinema and Audiovisual Fund, realizes or grants contributions for the carrying out of surveys, studies, research and assessments of economic, industrial and employment impact of the measures referred to in this law, or to support public policies in the film and audiovisual sector.
As a result of the foregoing, the Cinema and Audiovisual Directorate in collaboration with the Ministry of Education and Research (MIUR), the Luce-Cinecitta Institute, ANICA, the "Cattolica del Sacro Cuore" University. CrEative NeTwoRks Information Cruncher -CeRTA (Research Center on Television and Audiovisual) and PTSCLAS S.p.A. have carried out an impact assessment of the Cinema and Audiovisual Law for the years 2017-2018.
Sector data and analysis are also available at the addresses
http://www.cinema.beniculturali.it/Notizie/CC4841/151/tutti-i-numeri-del...
http://www.cinema.beniculturali.it/Notizie/CC5286/151/tutti-i-numeri-del...
On the recommendation of the Ministry of Economic Development (MISE) the "Italian Trade and Investment Agency" (ITA https://www.ice.it/it) has created a project (since 2018) to present the opportunities arising from free trade agreements to Italian companies. The goal is to help increase the degree of use of the agreements in force and in the process of being implemented, which represent important opportunities to increase the internationalization of Italian companies. In particular, the project involved the following Agreements (https://www.ice.it/it/studi-e-rapporti/studi-sugli-accordi-di-libero-sca...):
- Global Economic and Trade Agreement | CETA
- The free trade agreement between the EU and South Korea
- The Economic Partnership Agreement between the EU and Japan | EPA (updated in May 2019, after the agreement entered into force on February 1, 2019)
- The free trade agreement between the EU and Singapore
- The free trade agreement between the EU and Vietnam (EVFTA)
Data on cultural participation rates by socio demographic variables are available at : "Aspects of daily life" survey of ISTAT (http://dati.istat.it).
In addition, the Symbola Foundation Report (https://www.symbola.net/ricerca/io-sono-cultura-2019/) reveals that core activities have a greater impact in terms of wealth generated and employment produced on the economy of all regions (in the aforementioned Lazio the share exceeds 70%, as in the Aosta Valley); however, it is possible identify territories in which creative driven activities play a very important role.
In terms of added value, the contribution stands out for Tuscany, Lazio, Emilia-Romagna and Piedmont (all exceed 2.5% of the total product), while in terms of employees, always taking the regions from the contribution of 2.5 percentage points upwards, they emerge EmiliaRomagna, Tuscany, Friuli-Venezia Giulia, Veneto, Piedmont and Lazio. Arises in this perspective, the link that binds culture and creativity to supply chains in the territories is highlighted production of Made in Italy, particularly evident in the provinces of the Center North.
In the provincial rankings for incidence of gross product and employment produced out of the provincial totals, the large metropolitan area ranks first of Milan, followed by Rome for added value (third for employment), and by Turin (respectively in third position for added value and fourth for employment). Scrolling through the ranking, territories with different characterizations are highlighted: metropolitan centers, industrial districts as well as provinces made up of many small ones and characteristic villages specialized in historical and artistic tourism.
Metropolitan areas show a marked inclination towards activities creative, especially in the advanced tertiary sector. In these contexts, cultural activities they relate to tourist activities linked to the enhancement of heritage historical and artistic representations. In addition to the cities already mentioned (Milan, Rome and Turin), the presence of other large urban areas (Bologna, Florence and Trieste) is noted.
The link between culture and manufacturing is evident in the district realities, or in those areas where there is a significant concentration of professions crafts, which enhance the creative skills of made in Italy. Among these district excellence, strongly oriented to foreign markets, we can mention Arezzo, Modena, Monza and Brianza, Reggio Emilia, Pesaro-Urbino and Alessandria.
In this regard, it should be emphasized that in the province of Arezzo 5.5% of the added value local is generated by creative driven activities, such as 6.2% of employment. In the provinces of Modena and Reggio Emilia, the wealth generated by businesses extra-Core is equal to 3.6% and 3.1%; the impact on employment is also relatively high, and respectively equal to 4.0% and 3.3% (in this case it is added in the top
20 Alessandria, where employment in creative driven activities represents 3.9%). Regarding the creative industries, the regions that in general they show a greater incidence of architecture and design activities are those of the North. In this regard, we find the Valle D'Aosta Vin the first three positions (in the lead with an incidence of 40.0%), Veneto (very close to the Aosta Valley, 39.9%) and Trentino-Alto Adige (37.2%). In the context of communication, the dimension stands out metropolitan, and therefore the leadership of Lazio (17.8%) and Lombardy (17.4%), with a significant third place in Puglia (15.6%). Within the cultural industries, once the weight stands out in an accentuated way of the film and audiovisual sector in Lazio (11.4%), whose incidence value it is double the national average (5.0%). Companies in the video game sector and software are on average more numerous in the northern regions (the first three are Friuli-Venezia Giulia, Trentino-Alto Adige and Lombardy), while the Marches excel due to a greater concentration of activities related to music (3.76% of companies of the Regional Cultural and Creative Production System). In the southern regions, finally, the presence of publishing and printing companies appears particularly significant, with particular emphasis in Sardinia (42.7%), Calabria (42.4%) and Sicily (40.8%).
Looking at the provincial rankings drawn up on the basis of the weight of the core companies out of the total, Milan is confirmed as the territory at the top of the provinces ranking for incidence of the number of core companies on the regional total (equal to 8.7%). Rome occupies the second position (7.2%) and Florence the third (6.5%). It should be noted that, among the first twenty positions, only Pescara (15th) is confirmed among the southern provinces, while Central Italy is represented by the provinces of Rome and Florence.
The ranking integrated with the estimated component of creative driven companies it re-proposes Milan and Rome in the lead, with an incidence of the companies of the Production System Cultural and Creative on the provincial total, respectively equal to 11.0% and 9.5%.
The provinces of Florence and Trieste also maintain their positions, while Arezzo enters the top ten, placing itself in ninth potion, thanks to the record for incidence of creative driven businesses.
Most of the workers of the Cultural and Creative Production System are between 35 and 54 years old, despite showing a strongconcentration
of professional figures in the 25–34 age group. In percentage terms, in fact, 20.0% of the total number of employees in the sector belongs to this group, against 17.6% of the rest of the economy. From the breakdown of the data by gender, a greater share of men is highlighted
within the companies of the Cultural and Creative Production System. Women represent 37.4% of the workers present within the supply chain (compared to 42.1% of rest of the economy). Gender relations are particularly unbalanced in activities Creative Driven (where for every 100 workers, more than 65 are male). In parallel to the greater presence of men, there is also a low foreign representation. Only 7.7% of the employed were born outside the Italian borders; a share equal to little more than half of the overall economy (14.2%).
The 42.9% of those employed in the Cultural and Creative Production System have achievedat least one tertiary qualification (the percentage was 33.0% in 2011); almost a given double compared to the share recorded in the rest of the economy. Note as athird of cultural and creative workers (33.9%) have a degree specialist; the same share is equal to 7.6% in the rest of the economy. Compared to 2011, above all the share of workers with a three-year degree increases (+6.0 percentage points), consistent with what happens in the rest of the economy (+4.6 percentage points). The share of those in possession of a specialist degree is also growing (+3.6 percentage points) and post-graduate (+1.3 percentage points). Among the employees of the system culturally less qualified, according to the elaborations of Istat data , 42.9% are in any case in possession of a diploma or post-diploma degree (38.9% in the rest of the economy).
The share of employees fixed-term contract is just below 20% (17.2% in the System Cultural and Creative Productive; 18.6% in the rest of the economy); within the supply chain, however, the use of temporary forms of employment appears more widespread in the professions
cultural and creative aspects of the cultural core (21.0%).
The progressive evaluation on the measures adopted at regional and local levels indicate that the cultural and creative sectors are increasingly considered a key factor for the sustainable development for the territories and a tool to promote employability in the cultural and creative sectors, in particular the youth sector, and at the same time to provide economic and territorial animation to policy makers and stakeholders in terms of urban regeneration, social and cultural innovation. The Managing Authority (MA) of the PON, is called to implement all the actions aimed at achieving an optimal monitoring process and flow of information. Evaluation (https://ponculturaesviluppo.beniculturali.it/il-pon/attivita/valutazione/) is aimed at improving the quality, effectiveness and consistency of the Operational Program, as well as its strategy and its concrete implementation.
In this regard, the Managing Authority draws up an Evaluation Plan (PdV) in which it presents the evaluation activities to be carried out during the programming period and defines the financial, human and organizational resources necessary to carry them out. The PON "Culture and Development" PdV aims to oversee and strengthen the conditions for the effective implementation of the Program in terms of:
* achievement of expected results (effectiveness)
* optimal use of resources (efficiency)
* contribution to the economic growth of the territories (impact).
For this purpose, the Evaluation Plan provides for the establishment of a Steering Group, composed of institutional representatives and expert evaluators, with the task of:
* direct evaluation activities;
* oversee the quality, impartiality and independence of the evaluation;
* promote the participatory discussion of the results and therefore the use of the results of the assessments in the Program comparison venues.
Following the latest evaluation process in 2019, the following recommendations emerged.
For studies to be carried out in the near future:
I. There would be a need to do a great deal of in-depth work on the rules and instruments of a legal and administrative nature that can help those responsible for the heritage to draw up effective agreements (memoranda of understanding, program agreements, service contracts, concession deeds, etc.);
ii. There would be a need to carry out more systematic and in-depth studies with regard to the thresholds of economic and financial convenience of management systems and networks;
iii. Finally, there would be an area of study and in-depth analysis with regard to the techniques of involvement by museums of companies in the tourism sector and of those connected to cultural and creative companies. There are many practices in this regard, but the result is often transitory.
For defining policies:
I. The main challenge is continuing to strength the coordination at local, regional and national level. That will contribute to implement an integrated cultural management and policies and to stimulate the cooperation between local development stakeholders.
Several analysis and researches were and still be conducted by stakeholders and cultural institution, such us:
Fitzcarraldo foundation https://www.fitzcarraldo.it/ricerca/pdf/residenze_monitoraggio_2016_repo...
Cariplo Foundation https://www.fondazionecariplo.it/it/progetti/arte/arte-e-cultura.html
Sant'Agata Foundation https://www.fondazionesantagata.it/blog-css-ebla/patrimonio-sviluppo-sos...
Symbola Foundation https://www.symbola.net/tema/cultura-creativita/
The Creative Europe Project Results Platform is the European Commission's database for the Creative Europe Program.
The Platform contains descriptions of all projects funded by the Program, including contacts of the organizations involved and links to websites (https://ec.europa.eu/programmes/creative-europe/projects/). The Platform reports success stories or projects that have achieved exceptional results in terms of political relevance, communication potential, impact or objectives.
According to the next European Culture Agenda (2021-2017) it is expected the increase of the budget- Program of about 17% for Europe Creativa stands at a value of 1.6 billion euros for the period 2021-2027, compared to 1.4 billion euro of the 2014-2020 phase. Many cultural and creative stakeholders invoked the doubling of the resources to be dedicated specifically to the "strand Culture ", (currently equal to 31%).
The implementation of the integrated program of cultural promotion abroad is consulted at the address in which the numerous and progressive activities carried out and the annual planning are updated.
https://www.esteri.it/mae/it/politica_estera/promo-integrata-del-sistema...
https://www.aics.gov.it/home-ita/pubblicazioni/rapporto-annuale/
Based on the most recent monitoring that the Department for Equal Opportunities has carried out on them, it emerges that, compared to April 2014, women have increased by 12.6% in September 2017, currently representing 30, 9% of the members of the administrative and control bodies of unlisted public companies. With regard to gender balance in the administrative and control bodies of listed companies and public companies, the Department for Equal Opportunities has created a database of professionals online for the PA, called ProRetePA., to contribute to promote the presence of women in decision-making and economic processes.
The data on banks' adherence to the Protocol stipulated between the Department for Equal Opportunities, the Ministry of Economic Development and the Italian Banking Association (ABI) expressed positive trends: as of 30 September 2017, 36 banks - representing 39% of the branches in the sector - have signed up to the Protocol with a total allocated ceiling of approximately one and a half billion euro, resulting in a gradual increase in loans disbursed by banks on the lines of intervention envisaged by the Protocol. The deed of further extension allows for the continuation and consolidation of the activities so far successfully carried out by the banks and the signatory parties for the purposes set out in the Protocol.
European Project IR-CREA "Strategici ma vulnerabili. Relazioni industriali e lavoratori delle industrie culturali e creative" is a researching project focuses on industrial relations in creative industries ( http://www.ties-unifi.eu/ircrea/about/) . Creative workers are a highly heterogeneous group, which is internally highly differentiated. On the one hand, there are workers employed in large enterprises with high wages, good employment conditions and stable contracts. On the other, there are vulnerable workers who contract out their skills to various organizations in project based labour markets, straddling between self-employment and economically dependent conditions, with medium-low wages and a professional environment characterised by a high level of uncertainty. The research project regards the latter, namely highly skilled workers that play a key role in the knowledge economy but that are also more vulnerable. The action has three main goals: a) providing a general overview on industrial relations in creative industries across Europe; b) investigating practices in different countries with heterogeneous traditions in industrial relations and social dialogue; c) disseminating project's results among social partners, policy makers and other stakeholders at national and international level. IR-CREA will especially study how trade unions and employers' representatives include creative workers in collective bargaining activity and what kind of services they provide. The project also aims to disclose the presence of alternative forms of association of creative workers' interests (such as informal professional communities and co-working spaces). The digitization of the economy has resulted in the rise of new activities within the creative industries (as the case of gaming industries) and it transformed the others (as the case of graphic designers). The project IR-CREA will explore the dynamics of the two sectors, analysing the major changes, and highlighting the relationships with the representative organizations.
In agreement with other Italian institutions competent in the various fields of human rights, the CIDU (Comitato Interministeriale Diritti Umani https://cidu.esteri.it) prepares the periodic reports that Italy must submit to coordinates the complex exercise for the Universal Periodic Review - UPR) of the Human Rights Council of the United Nations even for the "Committee on Economic, Social and Cultural Rights" (OHCHR).
The Regions are responsible for carrying out the monitoring of the interventions, to better observe the process of implementation of the measures, the services provided, the number and profile of beneficiaries, the progress of expenditure, and other characteristics on the condition of employability of young beneficiaries. The financial resources allocated to the individual measures are indicated in the agreements that each Region and Autonomous Province has stipulated with the Ministry of Labor and Social Policies (https://www.anpal.gov.it/indagine-gg-2020-dettagli)
The implementation of "Women, Peace and Security" Resolution is coordinate by CIDU (Comitato interministeriale DIritti Umani) and the Department for Equal Opportunities (DIpartimento per le Pari Opportunita- Presidenza del Consiglio dei Ministri http://www.pariopportunita.gov.it/approfondimenti/decreto-donne-pace-e-s...) in collaboration with UNAR (www.unar.it).
The Office for the promotion of equal treatment and the removal of discrimination based on race or ethnic origin (UNAR) was established with Legislative Decree 9 July 2003, no. 215, transposing the community directive n. 2000/43 CE and operates within the Department for Equal opportunities of the Presidency of the Council of Ministers. UNAR has the function of guaranteeing, in full autonomy of judgment and in conditions of impartiality, the effectiveness of the principle of equal treatment between people, of supervising the operation of the instruments of protection in force against discrimination and of helping to remove discrimination based on race and ethnic origin by analyzing the different impact they have on gender and their relationship with other forms of racism of a cultural and religious nature.
In particular UNAR:
- provides assistance to the victims of discriminatory behavior in the proceedings undertaken by the latter both in administrative and judicial matters, through the dedicated action of a special Contact center;
- carries out inquiries in order to verify the existence of discriminatory phenomena in compliance with the prerogatives of the judicial authority;
- promotes the adoption of positive action projects in collaboration with non-profit associations;
- spreads the utmost knowledge of protection tools through awareness-raising actions and communication campaigns;
- formulates recommendations and opinions on issues related to discrimination based on race and ethnic origin;
- promotes studies, research, training courses and exchanges of experiences, also in collaboration with associations and non-governmental organizations operating in the sector, also in order to develop guidelines or codes of conduct in the field of combating discrimination based on race or ethnic origin.
| Pièces jointes | Taille |
|---|---|
 io_sono_cultura_2019_low_web_2.pdf | 2.59 MB |
| piano_mibact_miur_2017_2018_2019_2.pdf | 145.43 KB |
| il_sistema_afam_anno_accademico_2018-2019.pdf | 1.27 MB |
| tusmar-_testo-unico-della-radiotelevisione.pdf | 217.25 KB |
| dpcm-2-dicembre-2019-_mibact_reform.pdf | 223.17 KB |
| legge14novembre2016n220-_discipline_of_cinema-audiovisual_sectors.pdf | 2.95 MB |
| decreto_ministeriale_27_luglio_2017_fus.pdf | 3.65 MB |
