British entertainment industry

Q.1

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Is the declined access to funds in the British entertainment industry a result of Brexit?

Exiting from the European Union (EU) has left Britain facing myriads of issues encompassing strained funding, especially in the media production industry. Historically, the entertainment industry relied on the UK for funding, but due to a challenging economy, the EU came in to sponsor the production through different initiatives. However, after Britain exit from the EU, entertainment industries are not guaranteed from accessing the European regional development funds or the European Union Funded Media Programs. Also, Britain’s entertainment industry no longer benefits from film subsidies as mandated in the Creative European Program requirement.

In essence, the money put aside for the sole purpose of encouraging the active spread of some European films and other entertainment industries is not guaranteed anymore for studios in the Britain Isles. Due to inadequate funding, smaller production companies are near closure as lack of subsidies and capital reimbursement is leading to their bankruptcy. Also, current productions are slowly dying away as the British pound is devaluing thus leading to production financing shortcomings. Moreover, as the tax credit increases, production companies within Britain are facing financial issues that are significant drawbacks for the entertainment industry in countries in this region. Nonetheless, the British Isles states intend to introduce their subsidy programs, but with a weak pound, this initiative is not considered entirely adequate to resolve all the funding issues encompassing the entertainment industry in this region.

Q.2

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What are the short-term and long-term effects of Brexit on the Brazilian content industry?

Historically, Brazil’s entertainment market has always faced common challenges of price, poorly constructed markets, and piracy among others. However, with the current, Brazil is expected to face more problems in its content production industry both in the short-term and long-term. In the short period that Britain has exited from the EU, it has become strenuous for Brazil content producers to co-produce with countries that are within Britain Isles. The reason being that Britain is no longer under the protective umbrella of the EU, which guarantees good relations with Brazil and the contents produced in other European regions. Therefore, the content producers are being exposed to more challenges of inadequate state protection and taxable benefits from an unstable Britain economy.

The long-term setbacks that Brazil is experiencing from Brexit have continued the decrease in revenue output on the entertainment platform. Notably, the media industry is said to be the largest communication medium where at least 90% of households get entertained through content produced in Britain. However, with Brexit, most homes have ceased watching British programs and films as the media platform are now airing locally-produced content from Brazil, which is highly not preferred by their target viewers. Due to the poor reception of Brazilian contents, the revenue flow is slowly reducing in this region as the free flow of Britain products is eventually ceasing. Further, Brazil entertainment will face more long-term problems once Britain signs the international treaties that guarantee decreased barriers to content production or stringent tariffs faced by studio producers and distributors.

Q3

What complexities are facing content production fraternity?

By exiting the European Union, Britain has restrained movement issues from one country to another to shoot a film, making it more complicated. In the past, Britain was guaranteed of free movement of goods, people, and services, as this is one key feature ascertained to all EU members. Currently, the wider European or South American executives, crew, and cast are faced with the problem of acquiring work permits and visas to work in other Britain and vice versa. On the other hand, moving goods from Britain to another country and vice versa has become a lengthy process. Special custom permits are required to transport movie cameras, vehicles, costumes, and other requirements.

As a result, of stringent movement regulations, fewer distributions of films outside Britain are now becoming a frustrating reality while other European countries are continually limiting the distribution of their contents into British media platforms. In the past years, funding from the EU contributed to the massive exportation of British films to other nations purposefully for enhanced content development in this region and exposing Britain’s entertainment platform to the larger European audiences. Consequently, due to a weakened pound, international films are slowly declining as British content distributors find it difficult to acquire materials that are too expensive while they sell it at slight profit margins due to a poor exchange rate. Nonetheless, the greatest challenge for content producers remains to be a decline in subsidy provision.

Short Answers

Q1

What are the advantages of Brexit to the Italian entertainment platform?  

Italy has the largest number of media content production consumers in the whole of Europe. Therefore, with a devalued Britain pound, Italian studios will benefit more as they embark on producing more films in a region where it is cheaper and easier to regulate taxation procedures.

Q.2

How is uncertainty affecting the entertainment industry due to Brexit?

Evidently, the issue of uncertainty has continued to affect the Britain content production market. For that reason, the stable growth that was previously experienced by this industry is no longer guaranteed as a large part of film incentives have been scraped away, a process that has slowly scared off investors.

Q.3

Has Brexit led to the unattractiveness of British content in Mexican media platforms?

Mexico’s Televisa platform has significantly gained from Brexit a process that will eventually lower foreign entertainment debts in this region. As British exits from the EU, the need to leverage its contents during airing hours will cease. Hence, their time will be occupied with more Televisa shows that promote local talents in Mexico.

Q.4                                                                                                                               

What extent are Canadian independent entertainment organizations going to suffer from Brexit?

Canada has a large number of independently owned content producing sectors, which are significantly absorbed in creating foreign materials, especially from British productions. However, with a ceased flow of British content, most independent studios will end up bankrupt as uncertainty prevails and profit margins decrease.

Q.5

Is the UK entertainment industry affected in the policy making platform?

Since its departure, Britain’s opinion is no longer considered on the right to influence policy formation of any legality associated with film and television production procedures. The policymaking process that will affect the Britain the most is the Single Digital Market, which intends to neutralize all content distributors.

Q.6

How has Brexit changed company strategic planning?

In the past, companies operated on easily outlined strategic procedures, but now British organizations are using sophisticated frameworks to navigate an already unstable British economy. Currently, companies are now applying professional expertise in a bid to navigate the risk assessment, plan for exposure, assess all valuable options, and implement progressive initiatives.

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