the
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sourced from overseas. Many of the documentaries and films
are broadcast in the original language version – which is
something ARTE viewers appreciate very much.
With more than 400 co-productions and 4000 documentaries, ARTE
has become an important sponsor and promoter of the European
film industry. Many young talents like Mathieu Kassovitz, Lars
von Trier or Tom Tykwer were discovered by ARTE and are now
celebrated all over Europe. Others, like Claude Miller, were given
a second chance for the public to appreciate their films. Some of
the greatest successes of European cinema over the last years, like
“Run, Lola run” (by Tom Tykwer) or “Intimacy” (by Patrice
Chéreau) were produced with financial support from ARTE. This
shows that ARTE is more than just a showcase for cultural diversity
and actively contributes to European culture: 70% of ARTE’s
programmes are new productions, with many of them having a
lasting cultural impact on their audience.
Although ARTE programmes are only available in French and
German, they can be received, via cable or satellite, in many other
European countries, as well as in North Africa. All in all, more than
150 million viewers in Europe are technically in a position to receive
ARTE. More than 15 million viewers in Europe actually
do
watch a
programme on ARTE at least once a week. Despite the European
character of its programme output, the financial and organisational
structure of ARTE remains Franco-German. As a public broadcaster,
the channel is entirely financed through the television licence fee in
France and Germany. The channel is not permitted to show
commercials – a privilege rather than an obstacle – but may seek
other ways of developing its own source of income, in particular by
attracting programme sponsorship. However, due to its bi-national
character, ARTE also has specific challenges to face.
The ARTE challenge: one programme for two countries
It seems paradoxical: on the one hand, given its unlimited technical
and geographical range, television appears as the international
medium
par excellence
, on the other hand it is dependent on national
interests and watching habitudes. Many things are different with
regard to France and Germany – in particular the language. This is
the challenge: programmes are simultaneously aired, in two
linguistic versions, in both countries. The need to translate every
programme – by sub-title, dubbing or voice-over – excludes certain
type of programmes, like talk-shows or live entertainment. Another
basic point is that viewers in France and in Germany have different
timetables. In Germany, the prime-time film starts at 8.15 pm, in
France half an hour later. So when should a bi-national programme
like ARTE start its evening programme? ARTE finally decided to
broadcast its evening film at 8.45, thus giving the French viewers
the chance to follow a programme from the beginning, while
struggling to attract the viewers in Germany, many of them already
Shooting the new onscreen design
