Why does Poland have a highly developed manufacture of computer games and books, and at the same time a comparatively weak movie industry? Why the discrepancy?
In fact, Poland is 1 of the world's leading players in the production of computer games and is 1 of the biggest book markets in Europe, while at the same time its movie manufacture – although artistically recognized – remains comparatively mediocre quantitatively. Why the discrepancy?
Why did games and books work?
1. Low entry threshold – advanced independence
- Books and games can be created in tiny teams or even alone (indie game dev, self-publishing).
- Authors, programmers, illustrators – they do not request much capital for the start, but only talent and time.
- CD Project, 11 bit studios, Techland and others began as tiny groups.
2. advanced level of method and humanities education
- Poland has a strong tradition of mathematics, computer discipline and literature – these are perfect foundations for the game and book market.
- There are many talented writers, writers and programmers on the market.
3. fast adaptation to the global market
- Games and books were created from the beginning with a view to mass audience – with an English version, with a view to global platforms.
- Computer games (e.g. Witches 3) and Sapkowski's books have penetrated internationally.
Why did the movie in Poland not accomplish the same success?
1. advanced cost of movie production
- The feature movie is millions of gold budget, a large team, equipment, locations, logistics, time.
- Without large money, it's hard to make a movie at least a small competitive with Hollywood or Netflix.
2. Strong dependence on public funding
- Polish cinema is mainly based on the funds of the Polish movie Institute (PISF).
- This means thematic constraints, the hazard of censorship, competition and deficiency of marketplace flexibility.
- Productions are frequently made “for prizes” alternatively than for viewers.
3. No distribution and marketing facilities
- Polish films have mediocre promotion abroad, small contact with global distribution platforms.
- Computer games and books are easier to print on Amazon, Steam, native GOG, etc.
4. little investor interest
- For a abroad investor, the computer game has more possible to return (e.g. Dying Light or Cyberpunk 2077) than the art movie of kglobal range.
- Polish movie is not seen as a ‘product’, although there are exceptions (Ida, Cold War)
Games and books are cheaper in production, easier in distribution, more flexible and can be created from the bottom up. The movie in Poland requires large resources, tiny private investors and is dependent on the state – which limits dynamics and scale.
The Polish gaming manufacture has immense exports (up to 90% of revenue!), despite less companies than releases. The book manufacture has the highest income and employment, although it mainly operates locally. The movie manufacture is the smallest in terms of scale, exports and employment, despite advanced cultural visibility.
Poland importantly deviates from movie export leaders specified as the USA, South Korea and France. These countries have been successful thanks to:
- universal language or strong state support,
- international distribution and presence on streaming platforms,
How do we change that?
In order to increase the export of films and to get closer to the level of countries specified as South Korea or France, systemic changes in the approach to financing, production and promotion of cinematography are needed. These are concrete steps that could enable this:
1. Set a strategical objective: movie as a cultural product
- Treat the movie not only as art, but besides as a cultural manufacture and export goods, as Korea, France and the USA do.
- Introduce a national strategy for export cinema
2. Increase financing of commercial films with possible
- Currently, PISF mainly supports artistic cinema. We request to increase support for various genre films: thrillers, sci-fi, dramas, comedy – which are more frequently viewed
- Enter a separate fund for films of this kind with a distribution plan abroad.
3. Active promotion abroad
- Poland needs something like the Korean movie Council (KOFIC):
- participation in the most crucial movie fairs (Berlin, Cannes, Toronto),
- campaigns promoting Polish cinema on Amazon, Apple TV,
- grants for translation, dubbing and promotion abroad.
4. Developing global co-productions
- Encourage co-production with leaders countries to facilitate entry into the planet distribution.
- Expand taxation incentives and incentives for abroad producers spinning in Poland.
5. Support cooperation with streaming platforms
- Instead of limiting VOD services, Poland should cooperate with them (e.g. with HBO):
- offer photograph locations, local creators and funding,
- promote series and films produced in Poland as part of their catalogues.
6. Invest in talent improvement and education
- Support young directors, writers and producers with global ambitions.
- Facilitate access to global workshops, movie schools, mentors.
Summary
Poland has the possible to produce much more films – it has talents, studies, history.
However, it is essential to change philosophy: from cinema to cinema to cinema for all, while of course maintaining artistic quality.
