Italian publishers join their sister creative industries

In a policy statement provided to the media by the IEA, four issues, including copyright and piracy, are pointed out to politicians.

In Taormina, July 22. Image – Getty iStockphoto: Todamo

By Porter Anderson, Editor | @Porter_Anderson

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The snap general elections in Italy will take place on September 25

Ait’s a lot Publication prospects readers will recall, one of the strengths of the Italian publishing industry – particularly in its ability to garner support from Rome during the worst of the still-unfolding COVID-19 coronavirus pandemic – was italy Confindustria Cultura Italia (ICC), the federation of cultural industries.

It is an umbrella association that includes the Association of Italian Publishers (Association Italiana Editori, AIE) as well as the powerful Italian cinema and audiovisual associations (ANICA, APA, UNIVIDEO), as well as the heritage promotion agency AICC. In total, it represents more than 150,000 businesses and at least 5.4 million workers. The Confindustry celebrated its 110th birthday in February 2020, just as the pandemic was taking hold.

Over the past week, the Confindustry has defined four priorities for the cultural content industry in Italy. While this kind of coordinated business action is not unusual in many countries, Italy’s creative industries are exceptionally close to one of this country’s biggest economic drivers: tourism, art, history and culture. national image. It means the next legislative session – to be decided in a snap general election on Sunday (September 25) – is likely to listen, as it has during the pandemic era.

In describing its interests, the creative collective identified four topical areas in which to operate:

  • Promotion of the creative and cultural sector
  • Stabilization of system regulations and laws
  • Support for cultural consumption
  • The fight against piracy and the protection of copyright
Cipolletta: sectoral laws for the different fields of culture

Ricardo Franco Levi

An experienced government official, Ricardo Franco Levi, President of the Association of Italian Publishers and Vice-President of the Federation of European Publishers, is an asset in shaping and communicating the value of the Confindustria Cultura’s various elements.

“The world of culture, understood as the production of books, film and audiovisual content, music and services to museums and exhibitions”, write its offices in Milan, “generates an added value of almost 16 billion euros ($15.7 billion). with over 200,000 employees.

Innocenzo Cipolletta, president of Confindustria, affirms that the “capacity of the cultural sector to generate wealth, jobs, but also innovation for the economy, its social impact on the lives of Italians and the image of the italy abroad gives it an important role in the development and growth of the country.

“There is a need to increasingly realize this, invest in it and improve it with specific industrial policies that should be at the center of political agendas and programs.”

In short, the collective cultural core is preparing to push for increased positioning and support from the new government that is to replace the parliament dissolved in July when Mario Draghi resigned as prime minister. The 400 seats in the Chamber of Deputies and the 200 elective seats in the Roman Senate are at stake. The cultural industries consortium wants to see its central role in the economy and the character of the country more recognized by the new government.

Innocenzo Cipolletta

Cipolletta says: “The last two years of policies for cultural industries have inevitably been devoted to dealing with the consequences of the pandemic on the sector.

“The great effort of the institutions has led to the establishment of a series of intervention tools aimed, above all, at countering the emergency and with a fragmented approach. At the same time, however, the awareness of having an organic and systemic vision matured. It is, he says, “the need to carry out structural reforms that take advantage of the crisis to stabilize, integrate and innovate the legal framework of the sector, so that companies can define safe and medium-long investment plans. term “. .

“But, as in other industrial sectors, the culture sector has many diverse sectors within it, which deserve special attention. It would therefore be appropriate to enact sectoral laws for all areas of culture, as has already been done in some cases. Books, music and museum services are sectors that deserve to have legislation capable of promoting their growth.

Copyright: ‘The Essential Prerequisite’

Culture, says Cipolletta in its statement for the sector, “is an essential asset for society with its educational, formative and recreational value. Its circulation and use must therefore be stimulated and facilitated by policies supporting cultural consumption, for example by giving continuity to measures such as the 18App, by extending the teachers’ card also to the purchase of musical products and audiovisual media in their physical and digital versions and develop other similar support tools for other weaker categories, provide for the establishment of a deductibility scheme for cultural expenses and finally promote a subsidized VAT scheme for all products cultural”.

Cipolletta concludes the policy plan that he and his fellow leaders of the Confindustry articulate with an appeal to the essential priority of copyright protection.

“The cultural content industry is based on copyright, he says, which represents the essential prerequisite for the remuneration of those who work in this industrial sector, just as patents protect creativity in the industrial sector. Copyright must therefore be defended and promoted.

“Piracy is still a big threat to the industry for which effective countermeasures are needed to safeguard the future of operators today and tomorrow.

“What we are asking for is attention to the world of culture because of the role it plays for the economic and social growth of the country. These proposals are not only for the sector but also for the future of new generations and, in general, of our country.


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About the Author

Porter Anderson

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Porter Anderson is a non-resident member of Trends Research & Advisory, and was named International Business Journalist of the Year at the London Book Fair’s International Excellence Awards. He is editor of Publishing Perspectives. He was previously associate editor of The FutureBook at The Bookseller in London. Anderson was a senior producer and anchor for CNN.com, CNN International and CNN USA for more than a decade. As an art critic (National Critics Institute), he has collaborated with The Village Voice, the Dallas Times Herald and the Tampa Tribune, now the Tampa Bay Times. He co-founded The Hot Sheet, a newsletter for authors, which is now owned and operated by Jane Friedman.

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