Title page

Contents

Executive summary 8

Introduction 8

The subjects of the evaluation 8

The method of approach to the evaluation 8

Evaluation findings 9

Recommendations 14

Abstract 16

Summary statement 17

Document de synthese 19

1. Introduction 19

2. Les sujets d'evaluation 19

3. L'approche methodologique utilisee pour l'evaluation 20

4. Resultats de l'evaluation 20

Recommandations 26

Resume 28

Expose sommaire 29

Zusammenfassung 31

1. Einführung 31

2. Gegenstand der Evaluation 31

3. Methodischer Ansatz fur die Evaluation 32

4. Evaluationsergebnisse 32

5. Empfehlungen 38

Kurzdarstellung 41

Zusammenfassende Feststellung 42

1. Introduction 44

1.1. Definition of cultural and creative sectors 44

1.2. Overarching context of the CCS 45

1.2.1. A fragmented market being reshaped by digital technologies 46

1.2.2. The context specific to the audiovisual sector 47

1.2.3. The context specific to the Culture sectors 51

1.3. EU Policy Context 55

1.4. Presentation of the Programmes 57

1.4.1. Sector funding schemes have adapted to the changing contexts in which they operate, but remain small compared to the CCS' overall size 57

1.4.2. MEDIA 2007 58

1.4.3. MEDIA Mundus 2011 59

1.4.3. MEDIA Mundus 2011-2013 59

1.4.4. Culture 2007-2013 60

1.4.5. Creative Europe 2014-2020 62

2. Methodological approach 71

2.1. Objectives of the evaluation and study design 71

2.2. Study design and key deliverables 71

2.3. Key challenges and how these were addressed 73

2.4. Strengths and limitations of the method 74

3. Findings 76

3.1. Relevance 76

3.1.1. Creative Europe addresses the key challenges of the cultural and creative sectors 76

3.1.2. Creative Europe responds to both the ongoing and emerging needs of the AV and Culture sectors 78

3.1.3. The schemes offered under Creative Europe are relevant to stakeholder needs but there is scope for improvement 84

3.2. Coherence 88

3.2.1. Internal coherence 88

3.2.2. External coherence 93

3.3. Effectiveness 98

3.3.1. Predecessor and current programmes are effective in supporting the 'flowering' of EU cultures and cultural expressions 98

3.3.2. The predecessor programmes made a significant contribution against the EU strategic priorities, although more could have been done to 'put the citizen first' and tap into 'new' technologies 99

3.3.3. Creative Europe delivers on the strategic EU priorities, but the Programme impact on creating employment is weaker for the Culture Sub-programme 101

3.3.4. Predecessor programmes have been delivering on most of their general and specific objectives, however... 103

3.3.5. Creative Europe effectively balances the general objectives of diversity and competitiveness 105

3.3.6. The Creative Europe and its Sub-programmes have been fairly effective in achieving most of their specific objectives and priorities, but... 116

3.3.7. The Digital Single Market Strategy (DSMS) and Agenda for Culture should be better recognised as transversal to Creative Europe, to maximise its contribution to these strategies 125

3.3.8. The MEDIA and Culture predecessor programmes were effective overall in delivering their key outputs, results and impacts, while the MEDIA Mundus impact was fragmented 130

3.3.9. Creative Europe overall delivers it planned outputs, results and impacts, but effectiveness could be improved for some aspects of the supported schemes 137

3.3.10. Creative Europe is open to a diversity of participants, including smaller operators and companies 152

3.3.11. The Creative Europe schemes have clear objectives and the indicators to monitor their performance have been proposed by the new Programme Monitoring Framework (PMF) 153

3.4. Efficiency 154

3.4.1. Budgets allocated to the Programmes were not sufficient to meet objectives of creating major impact of a European scale and/or at sectoral level 154

3.4.2. Shortcomings at different stages of the implementation of the Programmes were identified and, although improvements have been made over time, there is room for further improvement 156

3.4.3. The cost effectiveness of the programmes was satisfactory and improved from one programming period to another 161

3.5. Sustainability 163

3.5.1. The main sustained impact is found in the networks and partnerships developed 164

3.5.2. Improving the dissemination of results will support the sustainability of impacts 165

3.6. EU Added Value 166

3.6.1. Most supported activities would not have happened without the EU funding 166

3.6.2. The main EU added value comes from the transnational character of the programmes 169

3.6.3. Over time, the funding has supported organisations to scale up their work with a European dimension 171

4. Recommendations 174

4.1. Relevance 174

4.2. Coherence 175

4.3. Effectiveness 176

4.4. Efficiency 177

4.5. Sustainability 177

4.6. EU added value 177

Annex 1. Intervention logics of Creative Europe and its predecessor programmes 179

A1.1. Creative Europe 181

A1.2. MEDIA Programmes field 185

A1.3. Culture programmes field 187

Annex 2. Outputs, results and impacts of schemes 189

A2.1. Predecessor MEDIA and Culture programmes 192

A2.2. Current MEDIA and Culture Sub-programmes 201

Annex 3. Tables for the efficiency assessment of selection MEDIA and Culture schemes 219

Annex 4. List of key informant interviews undertaken 243

Table 1. Cultural participation patterns by subsector (2007, 2013): At least one visit in the last 12 months 53

Table 2. Cultural participation in non-national European activities, by subsector (2013): At least one visit in the last 12 months 54

Table 3. MEDIA 2007: Supported schemes and spend per scheme 59

Table 4. Culture Programme 2007: Supported schemes and spend per scheme 62

Table 5. Creative Europe MEDIA Sub-programme: Supported schemes and spend per scheme 65

Table 6. Creative Europe MEDIA Sub-programme: Supported schemes and spend per scheme 67

Table 7. Comparison between Culture 2007 and Creative Europe Culture Sub-programme: spend per scheme 68

Table 8. Creative Europe Cross-Sectoral Strand: Supported schemes and spend per scheme 70

Table 9. Balance between 'diversity' and 'competitiveness' general objectives of the Creative Europe Programme 106

Table 10. Estimation of the Culture programmes support by culture sub-sector 114

Table 11. Extent Creative Europe has been effective in reaching its specific objectives 116

Table 12. Extent MEDIA Sub-programme has been effective in reaching its priorities 118

Table 13. Extent Culture Sub-programme has been effective in reaching its priorities 120

Table 14. Predecessor MEDIA - key outputs, results and impacts 131

Table 15. Predecessor Culture - key outputs, results and impacts 135

Table 16. Key outputs, results and impacts of the MEDIA Sub-programme 140

Table 17. Key outputs, results and impacts of the Culture Sub-programme 146

Table 18. Signed Guarantee agreements and effect on the amounts of loans and number of SMEs reached in the sector 149

Table 19. Amounts awarded (in EUR million) under Creative Europe at mid-term (2016 data incl.) and under the predecessor programmes 155

Table 20. Variation in average annual amounts by schemes across the two programming periods 155

Table 21. Cinema Automatic: Estimated change to organisations' activities without funding (for combined programming period) 167

Table 22. Cooperation Projects: Estimated change to organisations' activities without funding 167

Table 23. Transnational Activities: Estimated reduction in number of Transnational Activities without programme support 169

Table 24. Repeat beneficiaries by selected MEDIA scheme (across both programming periods) 172

Table 25. Estimated repeat beneficiaries by selected Culture scheme (across both programming periods) 173

Table 26. Examples of the structuring effect by scheme 174

Annex Tables

Table A2.1. Summary of Distribution Schemes' key inputs, outputs and results 195

Table A2.2. Cinema Automatic and Cinema Selective key impacts 197

Table A2.3. Summary of MEDIA Sub-programme's distribution schemes' inputs, outputs and results, compared to predecessor MEDIA 2007 206

Table A2.4. Cinema Automatic and Cinema Selective 208

Table A2.5. Key inputs, outputs and results of the current MEDIA promotion schemes (2014-2016), compared to predecessor Programme 210

Table A2.6. Distribution of promotion projects by PCC 211

Table A2.7. Platform - Key achievements 215

Table A3.1. Variations in average cost per projects for selected MEDIA schemes under the two programming periods 221

Table A3.2. Variations in average cost per projects for selected Culture schemes under the two programming periods 222

Table A3.3. Success and ineligibility rate of applications received under a selection of MEDIA schemes over 2007-2016 223

Table A3.4. Success rate of applications received under a selection of Culture schemes 223

Table A3.5. Overview table - amounts awarded per year and key results - for some MEDIA scheme(s) 226

Table A3.6. Overview table - amounts awarded and key results - for some Culture scheme(s) 237

Table A3.7. Comparison of CCS market and supported CCS entities 241

Table A3.8. Management costs of Creative Europe and predecessor programmes 242

Table A4.1. National policy makers 245

Table A4.2. Creative Europe Desks 245

Table A4.3. Organisations representing the sector on the national level 246

Table A4.4. National funding organisations 247

Table A4.5. EU Commission and the EACEA officers 248

Table A4.6. EU subsectors organisations 248

Table A4.7. European and international organisations 249

Annex Figures

Figure A1.1. Integrated intervention logic for the Creative Europe programme and predecessor programmes 182

Figure A1.2. Intervention Logic for the Cross-sectoral Strand 184

Figure A1.3. Integrated intervention logic for MEDIA programmes field 186

Figure A1.4. Integrated intervention logic for Culture programmes field 188