The project team and its objectives

The REBOOT (Reviving, Boosting, Optimising and Transforming European Film Competitiveness) project brings together experts in film studies, communication science, and media policy to explore the challenges and opportunities facing European cinema today. The Reviving, Boosting, Optimising, and Transforming European Film Competitiveness (REBOOT) project is coordinated by the University of Vienna in partnership with eleven universities and institutions across nine EU and one non-EU countries.

The REBOOT project is centered on five key objectives that guide its research and findings. It seeks to ensure that European film remains globally competitive by identifying both structural barriers and opportunities within the industry. At the same time, it emphasises the importance of cultural diversity, advocating for the representation of diverse voices, stories, and creative approaches in film production. The project also redefines competitiveness, moving beyond economic success to incorporate artistic value, accessibility, and audience engagement as essential factors. Recognising that film is a powerful political and cultural force, REBOOT explores how cinema shapes European identity and fosters cross-border dialogue. Additionally, a core focus of the project is youth engagement, investigating how young audiences consume, interact with, and contribute to European cinema.

In other words, REBOOT figures out how to make European films more competitive while keeping them diverse, creative, and engaging, especially for young people. It looks at what's working in the industry, what's missing, and how we can make European cinema stronger in the future. A big part of this is understanding audiences, what they want to watch, how they engage with films, and how we can support young people not just as viewers, but also as creators and active participants in the industry. REBOOT focuses on five main things:

• Making sure European films stay strong in the global market.
• Supporting cultural diversity so that all kinds of stories and voices are represented.
• Rethinking what 'competitiveness' really means, it's not just about making money, but also about creativity and accessibility.
• Recognising that film and the creative sector are powerful cultural and political tools for Europe.
• Finding better ways to help young people engage with and contribute to European cinema.

In short, REBOOT is about shaping the future of European film in a way that's fair, exciting, and open to new voices. For more we invite all readers to navigate the project's website here.

Research questions and project structure

The REBOOT project is dedicated to understanding the evolving landscape of the European film industry (EFI) in an era increasingly shaped by digital platforms. At the heart of the project are five key dimensions that guide its research questions and objectives. These dimensions focus on increasing young people's engagement with European films, strengthening the EU's position in the global audiovisual economy, supporting cultural diversity within the industry, redefining competitiveness and its indicators, and recognising the cultural and creative sectors as vital geopolitical assets for the EU.

To explore these themes in depth, the project is structured into six specialised Work Packages (WPs) that carry out targeted research activities. Alongside these research-focused packages, there is an administrative WP, managed collectively by the consortium, ensuring smooth coordination across the project's components. Another essential pillar of the project is the Advisory Board, which comprises ten distinguished experts from academia to the film and audiovisual industries. This board plays a significant role in shaping the project's direction, providing valuable insights, and supporting the scientific team's analysis and discussions.

A central research question for the REBOOT project is: How has the EU defined and sought to promote the competitiveness of the audiovisual sector and the European film industry? To answer this question, the research team has undertaken an extensive review of over 200 official documents issued by major EU institutions, including the European Commission, the European Parliament, and the Council of the EU. These documents, spanning legislative acts and policy instruments, offer a comprehensive view of how EU policymakers have approached competitiveness over time.

Since its launch, the REBOOT team has conducted over 210 interviews with film professionals from both EU Member States and non-EU countries. These interviews provide a rich body of qualitative data, offering a deeper understanding of the complexities surrounding the European film market. A key area of investigation is the EU internal market and the ways in which film professionals navigate it. Several important themes have emerged from these interviews.

Research methods and initial findings

The project combines policy analysis, industry research, and audience studies to understand how European cinema can remain both competitive and culturally vibrant. Initial findings suggest that while public institutions provide crucial financial support, there is a lack of investment in experimental and avant-garde films.

One recurring observation is that there is no unified international strategy for the European film industry. Many interviewees describe the industry as fragmented, where "each film is a pilot", a unique project that requires individual negotiation and adaptation. Co-productions are viewed as both a necessity and a valuable tool for cultural exchange, enabling filmmakers to collaborate across borders while fostering diverse storytelling practices. Additionally, nominations and awards are widely regarded as indicators of a film's success and a measure of competitiveness, though there is no consensus on how to define this concept more broadly.

Interestingly, the very notion of 'European cinema' is perceived differently within and outside the EU. While some stakeholders view it as a cohesive cultural identity, others argue that the concept is too diverse and fluid to be narrowly defined. Moreover, public policies promoting cultural diversity are seen as a distinctive characteristic of the European film sector, reinforcing the idea that European cinema has a unique social and cultural role. Despite these insights, a clear definition of competitiveness within the EFI remains elusive, with differing views on how to measure and promote it effectively.

However, as Katharine Sarikakis emphasises, "studying the film industry from a communication and audience perspective while also being part of that audience is a unique experience. Often, as viewers, we don’t see the bigger picture – how EU policies shape the industry, how funding works, or the barriers different groups face in accessing the market. This research helps bridge that gap."

Some preliminary results on young audiences, preferences, consumption patterns, and media creation, a research conducted in nine countries (eight EU Member States – Austria, France, Italy, Spain, Belgium, Poland, Greece, and Finland – and Turkey as a non-EU country), involved 5,000 participants aged 12 to 24. Through a combination of surveys and focus group interviews, the research reveals valuable insights into the viewing habits and preferences of young people. This work tells us that for instance in Austria, young audiences show a clear preference for comedies, dramas, and romantic films, with the most significant factors influencing their choices being the film's themes, narrative style, and emotional impact, including its music. Interestingly, while Austrian films fail to capture their enthusiasm, British films are the most favoured – even more than American films. Within the EU, they primarily consume French and German films.

A striking finding is that streaming platforms have displaced traditional cinema and television as the primary means of accessing films. While young people appreciate the variety available through streaming, they express dissatisfaction with the limited selection of films shown in cinemas.

When it comes to challenges in film music production in the European film industry, it is an essential component of the project. An underexplored yet critical aspect of filmmaking is music production, which plays a fundamental role in enhancing audience engagement, increasing emotional connection by over 50%, according to preliminary results. However, music creators face mounting challenges. The economic burden associated with music composition, editing, and recording adds significant costs to film production. Simultaneously, advances in Artificial Intelligence (AI) are reshaping the creative process, raising concerns about the future of artistic authorship and the value of human creativity in film music.

From the public institution's perspective, it is considered the cornerstone of the European film industry, providing both financial and policy support. Preliminary results show us that Austria, in particular, stands out as a leader, with a well-established funding infrastructure that plays a crucial role in sustaining the industry. The country has 22 funding bodies, with six operating nationally and 16 regionally, ranking it among the top five European countries for film funding, alongside France and Germany. This extensive support system enables a diverse range of productions, contributing to the cultural and economic vitality of the Austrian and broader European film sectors.

The project results also highlight the fringes of the European film industry, films that challenge mainstream narratives and explore alternative or realist storytelling approaches. These works, which often blend fictional and factual elements, serve as a means of documenting, questioning, and redefining understandings of diversity and democracy.

The research emphasises the importance of supporting marginalised voices in the industry, focusing on youth, women, and migrants as key contributors to cross-sectional storytelling.

Next steps and project timeline

REBOOT is set to continue its research and industry collaborations, with upcoming studies focusing on audience engagement strategies and policy recommendations for a stronger European film sector. In the remaining project period, the team will further explore how young audiences can be better integrated into the industry and how funding structures can be improved to support a wider range of creative projects and the CC sector. The REBOOT Project plans to deliver concrete recommendations for enhancing the European film ecosystem, ensuring its sustainability and relevance in a rapidly evolving global market.

The project team at the Department of Communication

• Katharine Sarikakis is a Professor of Communication Science in the Department of Communication at the University of Vienna. Her research areas include media industries, media organisation, and media governance, In 2011, she took up a Professorship at the University of Vienna and established the Media Governance and Industries Research Lab.
• Gentiana Ramadani is a PhD candidate in the Department of Communication at the University of Vienna. Her project focuses on the media governance discipline and explores the role of common citizens' engagement and participation to policy processes, and how they contribute to a better and a new model of media governance.
• Angeliki Chatziefraimidou is a PhD candidate in the Department of Communication at the University of Vienna. The topic of her project is the governance of privacy on the internet of children in Vienna. Her research interests include children and youth as media users, children's rights and online safety.
• Simon Haslauer is a student research assistant for the Horizon Europe-funded REBOOT Project at the University of Vienna. His research interests include the intersections of media, culture and politics – especially mediated cultural artefacts and their cultural and political implications.
• Yves Saint Clair Zogo is a student research assistant for the Horizon Europe-funded REBOOT Project at the University of Vienna. His research interests comprise behavior change communication, digital media rights and policies and social change.