This chapter analyzes the film product lifecycle, focusing on the economic and technological factors that define the contemporary entertainment industry, particularly the discontinuities brought about by digitalization. It traces the industrial process through its phases – production, distribution, and commercial exploitation – examining how the rise of OTT operators has challenged the traditional windowing model, even though the theatrical release remains strategically vital. The chapter contrasts the hegemonic North American industry, known for its international scope and reliance on blockbusters, with the European market, which is sustained by extensive public support measures rooted in the notion of “cultural exception”. Special attention is dedicated to the Italian market, outlining its public funding mechanisms (e.g., tax credits and direct contributions) and the channels influencing the international circulation of Italian films, such as co-productions and global platform originals. The text concludes by reviewing the key metrics used for evaluating commercial performance across traditional and digital environments.
Ceccatelli, G., L'industria cinematografica, in Scaglioni, M. (ed.), Economia delle industrie mediali. Stampa, radio, podcast, film, tv, streaming, videogiochi, web, media digitali, Vita e Pensiero, Milano 2025: 167- 185 [https://hdl.handle.net/10807/326358]
L'industria cinematografica
Ceccatelli, Giovanni
Primo
2025
Abstract
This chapter analyzes the film product lifecycle, focusing on the economic and technological factors that define the contemporary entertainment industry, particularly the discontinuities brought about by digitalization. It traces the industrial process through its phases – production, distribution, and commercial exploitation – examining how the rise of OTT operators has challenged the traditional windowing model, even though the theatrical release remains strategically vital. The chapter contrasts the hegemonic North American industry, known for its international scope and reliance on blockbusters, with the European market, which is sustained by extensive public support measures rooted in the notion of “cultural exception”. Special attention is dedicated to the Italian market, outlining its public funding mechanisms (e.g., tax credits and direct contributions) and the channels influencing the international circulation of Italian films, such as co-productions and global platform originals. The text concludes by reviewing the key metrics used for evaluating commercial performance across traditional and digital environments.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.



