14 / 60
4
Societal indicators
Vivendi’s Four “Core” Issues relating to Human Rights
p
p
Enhancing audiovisual and cinematographic
influence abroad and showcasing cultural heritage
Initiatives by Canal+ Group aimed at enhancing audiovisual
and cinematographic influence abroad (young talent, local
talent, digitization of cultural assets) and at showcasing
cultural heritage
GRI
UNGC
OECD
Scope
covered
MSS M3
1, 2
II, IV
Canal+ Group
Canal+ Group has developed a number of initiatives aimed at enhancing
the influence of audiovisual and cinematographic media abroad and
showcasing cultural heritage.
Canal+ Africa supports numerous African cinematographic productions:
since 2005, more than 50 films have been co-produced or co-financed.
The channel broadcasts twelve African films every year. Six films and
series will be in competition at the 2015 FESPACO (the Ouagadougou Pan-
African Film Festival). In 2014, Canal+ Africa supported, among others,
the following African films:
La Fugitive
by Boubacar Diallo (Burkina Faso),
Soleils
by Dani Kouyaté and Olivier Delahaye (France/Burkina Faso) and
Félicité
by Alain Gomis (Senegal).
In 2014, Canal+ Africa also launched A+, a new 100% African channel
broadcast through the Canalsat package in more than 20 countries in
West and Central Africa. A+ aims to become the benchmark channel for
French-speaking Africa, to reflect the identities and special characteristics
of the continent and to focus firmly on the Africa of the future. Two-thirds
of the broadcasts will be devoted to African and African-American films
as well as TV series and films for television.
Since its launch in October 2014, A+ has coproduced and participated in
the financing of over eight productions including Yolande Bogui’s
Histoire
d’une vie
.
Moreover, Canal+ Africa has contributed to the influence and
development of African cinema by supporting three major festivals for
some years now:
p
p
the
Festival Clap Ivoire
, a competitive festival for fiction and
documentaries open since 2004 to young technicians and producers
from members of the West African Economic and Monetary Union.
In 2014, Canal+ Africa offered films from the
L’Afrique au féminin
programme and awarded prizes in five categories (best female
and male performance, best script, best sound and best image).
The director of the documentary
Nana Benz
,
the Queens of African
Textile
, winner of the major Kodjo Eboucle Clap Ivoire prize, was also
awarded a grant;
p
p
the
Festival Écrans Noirs
, the 18
th
of which was held in Yaoundé
(Cameroon) in July 2014, with the support of Canal+ Africa;
p
p
the aforementioned FESPACO festival which takes place biennially
and was held for the 24
th
time from February 23 to March 2, 2015.
Studiocanal, which includes the French entity as well as its British and
German subsidiaries and which is also active in Australia and New
Zealand, has established itself as a leading European player in the co-
production, acquisition and distribution of films. In 2014, Studiocanal
invested €173 million in European works (See Integrated Reporting Pilot
Project, Section 2 p.8) and consolidated its position as a European leader
through production partnerships launched in Scandinavia.
In 2014, Studiocanal films were selected in the major film festivals: the
Oscars (
Ernest & Célestine
), the Berlin International Film Festival (
Two
Faces of January
and
The Hundred-Year-Old Man Who Climbed Out
the Window and Disappeared
), the Toronto International Film Festival
(
Imitation Game,
winner of
the People’s Choice Award), and the Golden
Globes (16 nominations for the films
Imitation Game
,
Selma,
and
Foxcatcher
).
During the course of 2014, Studiocanal produced 15 feature-length films
by filmmakers of 5 different nationalities. The studio also produced the
subtitled version of 30 recently released films and dubbed 25 recent
films into 3 different languages. In addition, 32 back catalogue films
were dubbed in 6 different languages and 88 back catalogue films were
subtitled in 15 different languages in 2014.
Studiocanal is also involved in promoting and preserving film heritage.
In 2014, Studiocanal restored two films (
Le Jour se lève [Daybreak]
by Marcel Carné and
Les Contes d’Hoffman [Tales of Hoffman]
by
Michael Powell and Emeric Pressburger) and digitized 21, including
the masterpieces of Jacques Tati and also
The Seventh Seal
by
Ingmar
Bergman. On the Cine+ channels, Canal+ Group devoted part of its
programming to the broadcasting of works that are part of cinema
heritage, including a François Truffaut cycle, a Jean Epstein cycle and a
Marguerite Duras evening.
The work of digitizing Studiocanal’s catalogue began in 2005: to date
in France, 2,000 films are available digitally of which almost 1,000 are
in HD. Studiocanal’s Restoration department is in charge of preserving
and enriching a catalogue of over 5,000 European and American titles.
Because restoring a film means bringing it back to life in its most original
form possible, the new version of Marcel Carné’s
Le Jour se lève
(
Day
Breaks
), restored in 4K by Studiocanal and Eclair laboratories, contains
scenes that were censured under the Vichy regime, then reincorporated:
one scene with Arletty naked in the shower, another suggesting the
police are fascist thugs. The film, presented at Cannes Film Festival as
part of Cannes Classic, then re-released in France in September 2014, 75
years after it first came out, will also be distributed in the United States,
United Kingdom and Germany. In addition, Studiocanal remastered 47
films in high definition in 2014, including 32 films remastered from 35 mm
negatives in France.
The series production company Tandem, a subsidiary of Studiocanal,
develops, finances, produces and distributes prime-time programs for the
global market, such as
Pillars of the Earth
and
World Without End
: series
that won an Emmy Award and a Gemini Award and were nominated for
Golden Globes.
4.1.1.2.
Musical Diversity
Cultural diversity is at the heart of Universal Music Group’s business,
which owns more than fifty labels. UMG offers a vast catalog covering
every variety of musical genre. It bases its growth policy not only on
developing its roster of international artists, but also on spotting and
promoting local talent, whether it is young artists or best-selling acts,
to maintain its leadership position in its different national markets (See
Integrated Reporting Pilot Project, Section 2 p.8). In 2014, UMG signed
local artists in 59 countries; the albums recorded represent over 44
languages altogether.
p
p
Investing in creation and local talent
Percentage of sales accounted for by local
repertoires in their own countries
GRI
UNGC
OECD
Scope
covered
MSS M3
1, 2
II, IV
UMG
(59 countries)
2014
2013
UMG
60%
61%
14
Non-Financial Indicators Handbook 2014