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PART A’ PURPOSE AND SUBJECT MATTER (Articles 1-2)

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Article 1
Purpose
1. The purpose of Part B is to create and support a coherent national policy for the audiovisual and cinematographic policy sectors and the creative and cultural sectors in general, with a view to protecting, modernising and promoting the country’s contemporary cultural identity in a unified way, in particular by using new technologies and innovative means, and to supporting the cultural, audiovisual and creative sectors and their sub-sectors, in order to continuously adapt to developments and contribute more widely to the country’s economic and social development.
2. The purpose of Part C is to strengthen and modernise the support framework for audiovisual works in Greece, in order, on the one hand, to make it more friendly and accessible to investors and to correct interpretative difficulties that have arisen due to the change in the financial sources of the scheme and the different rules applicable to them, and, on the other hand, to attract quality domestic and significant foreign investments.
3. The purpose of Part D is to strengthen the creative sector of the audiovisual industry in Greece with the aim of preserving the national audiovisual heritage, in order for its wealth to create prospects for growth, as well as cultural and educational creation.
4. The purpose of Part V is to reorganise and modernise the operation of the Hellenic Foundation for Culture, in order to be able to serve its reformed purposes with a focus on the book and Greek letters and the development and promotion of the book and Greek letters in Greece and abroad through the agency.
5. The purpose of Part F is to safeguard the cultural nature and mission of the ‘Athens Epidaurus Festival’, which focus on the conduct of the annual artistic programme, the development of educational programmes, research programmes, publishing work and, more generally, the production of culture, which by their nature are not profit-making activities and are not specific to, and cannot be subject to, a commercial and profit-making framework similar to that of a profit-making commercial company (NP).
6. The purpose of Part G is to: a) the immediate start of operation of the legal entity under private law under the name "ACROPOL CULTURE AND CREATION CENTER" and the distinctive title "ACROPOL ACROPOL", b) the organizational reforms and the resolution of distortions in the operation of supervised bodies of the Ministry of Culture such as the National Theatre, the National Theatre of Northern Greece, the Thessaloniki Concert Hall and the state orchestras and c) the strengthening of copyright protection and the more effective control of Collective Management Organizations.

Article 2
Subject matter
1. The object of Part B is to establish a new, unified body called the ‘Greek Film, Audiovisual and Creation Centre-EKOMED SA-Creative Greece’ and to lay down the rules for its organisation and operation, as well as the arrangements for the administrative and organisational merger of two (2) existing legal persons into the new unified body, namely: a) the legal person governed by private law entitled ‘National Audiovisual Media and Communication Centre AE’, established and operating in accordance with Articles 44 to 51 of Law 4339/2015 (Government Gazette, Series I, No 133), and b) the legal person governed by private law entitled ‘Greek Film Centre’, established and operating in accordance with Articles 9 to 20 of Law 3905/2010 (Government Gazette, Series I, No 219). Articles 3 to 21 hereof constitute the Articles of Association of the Company.
2. The purpose of Part C is to establish a new Support Programme called Cash Rebate Greece-CRGR, which includes three distinct support schemes for audiovisual works, with a view to its medium-term sustainability, as well as the rationalisation of their rules and procedures through sound financial management rules.
3. The object of Part D is to create new structures to support the creative sector at national and regional level, as well as to institutionalise actions to support the extroversion of the audiovisual sector and its promotion at domestic and international level. In particular, the following structures and programmes are established: a) the National Digital Repository of Audiovisual Works for the preservation of the national audiovisual heritage, b) the Creative Hub, a networking structure for young creators and start-ups in the cultural sector with the needs of the market, in order to create better prospects for attracting European programmes and to organize audiovisual education and training programmes, c) the Observatory for the Cultural and Creative Sector, in order to have statistical data for the design of appropriate policies, d) the Program for the Enhancement of the Outward-Looking of the Audiovisual Sector, with the main objective of organizing a rational framework for funding and supporting Greece's participation in international and European festivals and events, as well as supporting domestic festivals in the area, and e) the institutional framework for the organization and operation of Audiovisual Production Facilitation Offices in Greece, Regions and large Municipalities.
4. Aim of Part ΄ is the expansion, the modernization of the purpose and the remodeling of the institutional framework governing the existing legal entity under private law under the name "Hellenic Foundation for Culture", through the establishment of a new legal entity under private law under the name "Hellenic Foundation for Books and Culture".
5. Aim of Part ST΄ is the formulation of the institutional framework governing the legal entity of private law "Athens Epidaurus Festival". In particular, issues relating to the administration, organisation and staffing of the legal entity under private law called the "Athens Epidaurus Festival" are regulated in a more complete and effective way, in particular through a more rational distribution of responsibilities between its governing bodies, as well as the structure of its services, in such a way that the pursuit of its objectives is ensured to the maximum extent.
6. The subject of Part Z ΄ is: a) the provision of the position of President and Vice-President in the legal entity under private law called "CENTER FOR CULTURE AND CREATION OF AKROPOL", the provision of their responsibilities and the redefinition of the responsibilities of the director of the above legal entity, b) the increase of the age limit for admission to the drama schools of the National Theatre and the State Theatre of Northern Greece, the granting of the use of premises of the Thessaloniki Concert Hall for the temporary servicing of activities of other musical institutions, as well as operational arrangements for state orchestras and c) the provision of the right to equitable remuneration of performers when the sound carrier is integrated into an audiovisual work and the establishment of accounting standards in the financial statements of the Collective Management Organisations.

📊 Overall Composition of Views

ℹThis module is automatically generated by AI after at least 10 comments. It groups and summarises the main positions expressed by readers so that you can see a complete picture of the discussion.✦ Created with AI
📍 New Body: Organizational Chart, Funding, Budget & Regional Programs 4 B.C.
🟢 Insufficient Clarity and Allocation of Powers in the Bill**
🟢 Necessity to Repair and Improve Existing Articles
🟢 Assignment of Responsibility: Catalyst for Effective Program Implementation
🟢 Unclear References to Regional Programmes: Source of Confusion
📍 Revision of Name and Article 42 2 B.C.
🟢 Creation beyond the arts: The unfounded imitation of "Creative Europe" by "Creative Greece"
🟢 Exploitation vs. Limitation of Company Rights
📍 Additional Requirements for Contractual and Recall Provisions** 1 business
🟢 Rights Assurance &amp?
📍 Maintenance of the status of seconded employees (Article 91) for 3 years 0 business
📍 Advances only for domestic productions with real need 2 B.C.
🟢 **Support for Domestic Producers**
🟢 Unclear Advances: Risk of Resource Waste
📍 Cooperative Consultation and Merger of Related Bodies** 4 B.C.
🟢 SAPOE & ESPEK: Reinforcement of the draft law
🟢 Labour participation: guarantee fair regulation
🟢 **Merger: Fuel for the Creative Explosion of Cinema**
🟢 **K.Y.A. and the Bypass of Transparency in Decisions**
📍 New Funding Mechanisms & Restriction Body for the Development of Greek Cinema and Audiovisual. 10 B.C.
🟢 **Targeted public funding to support cinema**
🟢 **Recognition of the Cultural and Social Value of Art**
🟢 Inequalities and Deficiencies in the Legislative Framework
🟢 **The reason for avoiding the term "creative culture" in the bill**
🟢 Proposals support by EEN member
🟢 Absence of Incentives for Young Creators
🟢 Need for Consultative Participation of Professional Associations in Legislation
🟢 Participation: Key to Accountability and Transparency
🟢 Dysfunction of the Single Body "Cuba"
🟢 Absence of industry in the current control mechanism
📍 Quality standards for eligible TV series costs 1 business
🟢 Quantification vs Quality: The Strengthening of Greek Television
📍 Cash rebate: Tax refund; Collaboration with Greek professionals through register & collective agreement 2 B.C.
🟢 Protection of Technicians: Register and Collective Agreement as a Necessary Measure
🟢 Misleading from the ‑ Tax Refund Grant Confusion
📍 GFC+: International Presence Strategy 1 business
🟢 Will enhance the international presence of the organization
📍 E.K.K.O.ME.: Incorporation in the brand name of the CySEC 1 business
🟢 Maintains the brand name of CySEC and the resonance of EKOME
📍 Revocation of Article 19 for private employees 3 Fig.
🟢 **The Rotating Door Effect**
🟢 Institutional Memory in Attenuation
🟢 Weakening of permanent public staff

Comments

10 responses to “PART A’ PURPOSE AND SUBJECT MATTER (Articles 1-2)”

  1. 7783 avatar
    7783

    Bravo

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  2. 7812 avatar
    7812

    Positions of the Board of Directors of the EDDA Alumni Association on the draft law "Creative Greece: strengthening the cinematographic, audiovisual and creative sectors, establishing a body for books and other provisions of contemporary culture.

    1. Article 19 provides for the possibility for private sector employees to take up positions of responsibility in the new organisation. We maintain that with this provision: a) the permanent and stable staff of the public sector is discredited, b) the institutional memory and continuity of the organization is weakened, and c) there is the risk of the phenomenon of "revolving doors", which is created by the ability of executives to move between positions of responsibility of the public sector and private enterprises.
    We propose the abolition of this provision and the staffing of positions of responsibility through the crisis process by civil servants.

    2. In Article 91 we propose to provide for the maintenance of the existing regime for all existing staff. Specifically, we ask for the horizontal validity of his secondments for three years with renewal for a further three, by way of derogation from the current provisions, as provided for in the call for interest, for all officials in order to continue the secondment of all, ex officio, also after the expiry of the transitional provisions.

    3.We note that the regulation of crucial legislative issues is carried out through ministerial decisions based on enabling provisions, thereby circumventing the parliamentary process and public consultation. This practice runs counter to two of the basic principles of good lawmaking, transparency and democratic legitimacy, as identified by the
    Article 58 of the Law on the Executive State (Law 4622/2019 A)

    The Board of Directors of the Alumni Association of EDDA

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    📍 Remove Article 19 provision for private sector employees 3 Fig.
    🟢 Weakens permanent public staff
    🟢 Weakens the institutional memory of the organization
    🟢 The phenomenon of rotating doors is created
    📍 Maintaining an existing status of seconded officials in Article 91 for three years 0 business

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  3. 7817 avatar
    7817

    After submitting our views both to the Ministry of Culture and to parties, we would like to add the following:

    1. Article 42(2) provides that the delivery of a copy of the work does not confer on the management company of the National Digital Repository for Audiovisual Works any operating powers other than those necessary for the purposes referred to in paragraph 1 of the same Article. In this way it is attempted to limit the rights acquired by the Company. However, point (d) of paragraph 1 includes among the purposes the exploitation of the archive. In this way, paragraph 2 is revoked and the possibilities of the Company are expanded in violation of the provisions of supralegislative copyright law, which prohibit the imposition of restrictions on the copyright in a way that is contrary to the normal exploitation of the work and that affects the legitimate interests of the author. The word ‘holding’ must therefore be removed from Article 42(1)(d).
    It is obvious that investment projects based on the violation of the rights of workers or authors and performers of an audiovisual work should not be funded.
    Therefore, in paragraph 2 of Article 29, it should be added that the necessary supporting documents for the application for inclusion of funding include a draft contract with the artistic contributors and workers, from which it follows that compliance with the protective provisions of labour law and legislation on the protection of the rights of copyright creators and related rightholders.
    Correspondingly, it should be added to the provisions of Articles 36 and 37 that the violation of the protective provisions of labour law and legislation for the protection of the rights of copyright creators and related rightholders is a reason for revoking the decision to include funding and recovering the amount paid, if this violation is found either following a sample check or due to a complaint.

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    📍 Removal of the word "holding" from Article 42(1)(d) 1 business
    🟢 The word exploitation contradicts the limitation of the Company's rights
    📍 Addition to Article 29(2) of a requirement to add a contract with artists to supporting documents 1 business
    🟢 Ensures compliance with labour and copyright rights before granting funding
    📍 Addition to Articles 36 and 37 of a provision on withdrawal of funding in the event of breach of protective provisions 1 business
    🟢 Allows the withdrawal of funding and the refund of the amount in cases of breach

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  4. 7819 avatar
    7819

    Article 1.1 aims to describe the purpose of the S/N which is to "create and support a coherent national policy for the audiovisual and film policy sectors and the creative and cultural sector at large". Instead, we see that it is the intention to create a new body, which will extend its actions to the whole spectrum of culture through the term creative culture, which is not even defined in this bill. On the contrary, this term is referred to and analyzed in Law 4708/2020 on the AKROPOL Centre for Culture and Creation, the aim of which is to promote and promote creative culture in Greece. It is therefore worth wondering why the constant reference to "creative culture in general" (indicatively Articles 1.3, 2.3, 4 etc.) is pursued with such insistence, especially when it is known to all of us that the financial resources available for the development and promotion of cinema and the audiovisual sector in our country are scarce. Thus, by adding more responsibilities and extending them to other areas, an over-centralized body is created that is consistent with other types of regimes, so what will happen in practice is the further underfunding of Greek cinema.
    We therefore call for all references to the strengthening of Greek culture in general to be deleted and for the new body to be limited to the strengthening of Greek cinema and the audiovisual sector.

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    📍 Clear all references to the enhancement of general Greek culture 2 B.C.
    🟢 Financial resources for cinema and audio-visual are scarce
    🟢 The term "creative culture" is already covered by Law 4708/2020
    📍 Restriction of the new entity to the support of Greek cinema and audiovisual 2 B.C.
    🟢 The extension of responsibilities creates an overcentralized body and underfunding of cinema
    🟢 Constant reference to "creative culture" is pointless due to limited resources

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  5. 7840 avatar
    7840

    As the Greek Film Academy, we welcome the bill as a first step to cover the constant need for a unified domestic film policy. We recognize as a basic weakness of this bill the ambiguity around the distribution of the financial budget of the new body between its individual pillars and in particular between selective and automatic programs. We also consider that a number of individual paragraphs and forecasts of the new body require changes and/or improvements.

    We believe that, before submitting the draft law to Parliament for adoption, the Ministry should cooperate with the associations and bodies of the audiovisual industry and take seriously into account the proposals and comments of SAPOE and SEPEK that have been submitted to the consultation.

    We note briefly about some articles that we considered to be particularly important for the context in which the State intends to include the New Entity which aims to enhance the production of audiovisual works in Greece, to increase employment, to promote the country as a destination for the implementation of investment projects in the audiovisual industry and ultimately to generally enhance its economic development.

    🤖 AI AnalysisℹAI analyzed this comment and extracted the main posts expressed by the author. Each position is broken down into arguments – click to see them.✦ Created with AI
    📍 Clarification of budget distribution between selective and automatic programs 1 business
    🟢 Unclear distribution is a key weakness of the bill
    📍 Review and improvement of specific paragraphs and provisions of the new body 1 business
    🟢 Existing articles need changes and/or improvements
    📍 Cooperation of the Ministry with associations and bodies before the submission of the law 1 business
    🟢 Taking into account the SAPOE and ESPEK proposals will strengthen the bill

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  6. 7845 avatar
    7845

    The majority of professionals in the field are upset with the way the law was drafted.. not only is it incomplete with many omissions and "mistakes" but it raises the imagination of all of us what are the broader plans for the future of the art of cinema in general. Unfortunately, the legislator did not consider it necessary to consult the associations of our area such as SAPOE, EEN, PAKT, etc. but acted independently considering that he has fully understood the nature of the production of audiovisual artistic productions in their entire range. As a member of EEN I support its proposals as well as those of SAPOE and PAKT. It is important to listen to organizations and associations consisting of more experienced and renowned professionals in the field. The edifice of a single cultural institution "bucket" that includes all of them is highly dysfunctional, I am in favour of the EEN proposal: We therefore call for all references to the strengthening of Greek culture in general to be deleted and for the new body to be limited to the strengthening of Greek cinema and the audiovisual sector.

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    📍 Removal of references to the enhancement of Greek culture and limitation of the institution to the enhancement of Greek cinema and audiovisual 3 Fig.
    🟢 The bill is incomplete, with omissions and errors
    🟢 The legislator did not discuss with industry associations, ignoring the experience of professionals
    🟢 The single carrier 'bucket' is dysfunctional

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  7. 7853 avatar
    7853

    The majority of professionals in the field are upset with the way the law was drafted.. not only is it incomplete with many omissions and "mistakes" but it raises the imagination of all of us what are the broader plans for the future of the art of cinema in general. Unfortunately, the legislator did not consider it necessary to consult the associations of our area such as SAPOE, EEN, PAKT, ESPEK, etc. but acted independently considering that he has fully understood the nature of the production of audiovisual artistic productions in their entire range. As a member of the EEN, I support its proposals, as well as those of SAPOE and ESPEK. It is important to listen to organizations and associations consisting of more experienced and renowned professionals in the field. The edifice of a single cultural institution "bucket" that includes all of them is highly dysfunctional, I support the proposal of the EEN: We therefore call for all references to the strengthening of Greek culture in general to be deleted and for the new body to be limited to the strengthening of Greek cinema and the audiovisual sector.

    🤖 AI AnalysisℹAI analyzed this comment and extracted the main posts expressed by the author. Each position is broken down into arguments – click to see them.✦ Created with AI
    📍 Removal of references to the strengthening of general Greek culture 3 Fig.
    🟢 The law is incomplete, contains omissions and errors
    🟢 The legislator did not advise the professional associations
    🟢 The single carrier "bucket" is highly dysfunctional
    📍 Restriction of the new entity to the enhancement of Greek cinema and audiovisual 3 Fig.
    🟢 Professional associations must be heard
    🟢 The current context does not reflect the nature of audiovisual production
    🟢 As a member of EEN, I support the proposals

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  8. 7861 avatar
    7861

    I agree with EEN's comment: “Article 1.1 aims to describe the purpose of the S/N which is to “create and support a coherent national policy for the audiovisual and film policy sectors and the creative and cultural sectors at large”. Instead, we see that it is the intention to create a new body, which will extend its actions to the whole spectrum of culture through the term creative culture, which is not even defined in this bill. …. thus a hyper-centralized body is created that is consistent with other types of regimes, so what will happen practically is the further underfunding of Greek cinema.
    We therefore call for all references to the strengthening of Greek culture in general to be deleted and for the new body to be limited to the strengthening of Greek cinema and the audiovisual sector.”

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    📍 Clear all references to the strengthening of general Greek culture 2 B.C.
    🟢 General aid leads to over-centralisation and under-funding of cinema
    🟢 The term "creative culture" is not defined in the bill
    📍 Restriction of a new entity in the enhancement of Greek cinema and audiovisual 2 B.C.
    🟢 Limiting the actor to cinema prevents underfunding and ensures focus in this area
    🟢 Avoids spreading to undefined fields of culture

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  9. 7867 avatar
    7867

    Panhellenic Federation of Spectacle - Hearing
    Our Federation represents artists and employees in the Audiovisual sector.
    Dear Sir/Madam,
    We set out our concerns regarding the draft law submitted by the Ministry of Culture for public consultation entitled ‘Creative Greece: strengthening the cinematographic, audiovisual and creative sectors, establishing a body for books and other provisions for contemporary culture".
    The Draft Law was formed in absentia of the collective bodies of cinema and television, who are familiar with contemporary issues, since they have proven to have many years of national and European knowledge and experience.
    What we observe, from the beginning, is the Greek Film Centre, the main body for the exercise of cinematic policy and the main institution supporting Greek cinema to date, with all its institutionalized aims, given its actions to date, the regular and adequate funding of films is not ensured, and the only thing that is preserved is the title. The draft law promotes the notion of commercialization of film art, while it has failed to incentivize new creators.
    The new body that is being created lacks the organisational chart, the operation, the funding procedure, the budget and the individual funding programmes that are responsibilities of the Directorate-General for Cinema and concern domestic film productions. The process of advance payments should be clarified that it will only be implemented for domestic productions where there is a substantial need. Nowhere is it mentioned and therefore we do not know the total amount of the annual grants of the new Agency. There is no mention of creating or finding new funding mechanisms for film art, supporting the primary importance of the script, highlighting new creative talents.
    In particular, Article 4 in five pages describes "the mission and responsibilities" of the new Agency. What we find is that film is treated as a production for profit, ignoring and degrading its status as a work of art as well as its social and cultural role.
    Greek cinematic art, which is always referred to in the Draft Law, simply as cinematic production, is degraded. The reference to the support of audiovisual production means that the new operator will finance the TV series of private channels, thus continuing the political perception of E.KO.ME. This philosophy is not innocent, because it aims to equate cinematic art with television programs at the expense of financing an autonomous cinema that will support cinema as an art and social good.
    The legal obligation for TV stations to pay 1.5 is finally entombed.% their annual revenue for the production of films. On the contrary, the owners of private television stations who for decades did not comply with the Act of Performance of 1.5% are rewarded with millions of euros per year for Greek serials. The state, that is, the citizens, will pay for the series of private television stations.
    Moreover, at a time when the development of film production needs a truly new ground-breaking, flexible, democratic and immediately effective modern legislative development framework that ensures transparency, fair and inclusive allocation of resources for a diverse expression, the Draft Law with its absolute centralization by an appointed board of directors is a blow to freedom of expression.
    Our general view regarding television series is that the total eligible costs should be defined regardless of the number of episodes. The aim of this funding should be to promote and create quality television productions that include some quality standards. A similar arrangement is proposed to be set for short documentaries.
    Most of the Draft Law (PART C), consisting of 20 articles, describes a programme of support for audiovisual works to be filmed in Greece: Cash Rebate Greece. All articles are devoted to the detailed description of the terms and conditions of funding of foreign film television and film productions that will be filmed in Greece. It provides for 3 ways of financing in order to attract foreign investment to the country. The three distinct aid schemes will be: 1) Cash Rebate Greece – Film and TV 2) Cash Rebate Greece Animate 3) Cash Rebate Greece – Original computer accounting games. The grant amounts foreseen in each case are for films, television programmes and animates up to EUR 8 million per project and for projects of national development importance up to EUR 10 million. For the original accounting games the grant amount reaches 1 million euros for each.
    As it becomes obvious, this Law is mainly made to enhance the attraction of foreign producers to the country, for which tens of millions of euros will be available. At the same time, the new organization with a few tens of millions of euros will support the productions of private television channels. Greek film art will continue to be underfunded and degraded once again by the state, as has been the case in recent decades.
    Therefore, the issue of cash rebate should be better understood and raised. There is a confusion in the draft law regarding the term, which he calls a subsidy at the time when it acts as a tax refund. Moreover, with regard to the cash rebate, there is no reference to an obligation for international producers receiving cash rebates to cooperate with Greek film professionals. Incentives should be provided through a register of professional technicians and artists and through the conclusion of a Collective Labour Agreement to protect technical staff.
    A major problem that exists in the draft law concerns the many ambiguities that (it seems) will be clarified by Ministerial Decisions or Joint Ministerial Decisions. The draft law provides several empowerments. This will allow many basic regulations of the law to be changed directly through the Joint Ministerial Decisions. It should be replaced by a broad consultation with the institutional representatives of workers, professionals and creators of the sector before the Joint Ministerial Decisions are issued.
    A further shortcoming of the draft law concerns the Regional Programmes. These are reported within the plan without any further explanation. What will these programs be? How will they work? Under what responsibility will they operate?
    Important footnote: According to the draft law, the auditee also checks the auditor because both the management and the control mechanism are defined and terminated by decision of the General Assembly. There must be a social safety net, such as the inclusion in the screening process of representatives of the film community.

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    📍 Clarification that advances will only be given for domestic productions with a real need 2 B.C.
    🟢 Unclear advance payments process can lead to a waste of resources
    🟢 Support should target domestic productions
    📍 Addition of an organisational chart, operation, funding procedure, budget and programmes to the new institution 2 B.C.
    🟢 Lack of these elements reduces transparency and efficiency
    🟢 Without a clear definition, the organisation cannot fulfil its responsibilities
    📍 Creation of new funding mechanisms for film art, script support and new talents 2 B.C.
    🟢 Design does not incentivise new creators
    🟢 Support for the script enhances the quality of the films
    📍 Recognition of film as a work of art, not only as a production of profits 2 B.C.
    🟢 Current treatment degrades its cultural role
    🟢 Art must have social value beyond profit
    📍 Imposing the obligation for TV stations to pay 1.5% revenue in motion picture production 2 B.C.
    🟢 Non-respect of the law creates unequal benefits
    🟢 Public money should support cinema, not private series
    📍 Determination of eligible costs for television series regardless of the number of episodes, with quality standards 2 B.C.
    🟢 Episode measurement promotes quota instead of quality
    🟢 Quality production enhances Greek TV
    📍 Setting up similar funding for short documentaries 2 B.C.
    🟢 Documentary Shorts Need Support for Development
    🟢 Lack of funding limits production
    📍 Clarification of the cash rebate as a tax refund, obligation to cooperate with Greek professionals through a register and a collective agreement 2 B.C.
    🟢 The confusion between a grant and a tax refund is misleading
    🟢 Protection of technicians through register and Collective Agreement is necessary
    📍 Replacement of Joint Ministerial Decisions with broad consultation with representatives of bodies prior to their adoption 2 B.C.
    🟢 Decisions through Joint Ministerial Decisions bypass transparency
    🟢 Employee involvement ensures fair regulation
    📍 Provision of a detailed description of the Regional Programmes, operation and responsibility 2 B.C.
    🟢 Unclear references to regional programmes create confusion
    🟢 Determination of responsibility enhances the execution of programs
    📍 Inclusion of representatives of the film community in the screening process as a social safety net 2 B.C.
    🟢 Current control mechanism does not include industry
    🟢 Participation ensures accountability and transparency

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  10. 7870 avatar
    7870

    First of all, I welcome the merger of the two relevant bodies, which I have been publicly supporting since 2017. But our issue is the way and details of the merger plan and I fear that an important opportunity for the critical, necessary for our country and feasible creative explosion of cinema and its audiovisual derivatives is at risk.
    Title: I think it is an obvious choice for EKOME, which retains the brand name of EKK and the resonance of EKOME. The add-on “and creation” is superfluous. The concept of “Creation” is not exclusive to the Arts and especially cinema. For the same reason, the distinctive title “Creative Greece”, similar to “Creative Europe”, has no place here, but may well be used as an umbrella for all the programmes of the Ministry of Culture for contemporary culture. The international presence of the organisation will be better supported by the distinctive title “GFC+”.

    I will come back with comments to Parts B΄& G΄.

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    📍 Support for the merger of the two related bodies 1 business
    🟢 Merger Will Boost Cinema's Creative Explosion
    📍 Use of the name EK.K.O.ME. with the brand name of the CySEC 1 business
    🟢 Maintains the brand name of CySEC and the resonance of EKOME
    📍 Remove "and Creation" from Name 1 business
    🟢 The concept of "Creation" is not exclusive to the arts
    📍 Do not use "Creative Greece" as a title, only as an umbrella 1 business
    🟢 "Creative Greece" has no place and copies "Creative Europe"
    📍 Adoption of the distinctive title "GFC+" for international presence 1 business
    🟢 Will enhance the international presence of the organization

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