VideoAge International June/July 2018

I N T E R N A T I O N A L www.V i deoAge.or g THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION June/July 2018 - VOL. 38 NO. 4 - $9.75 By Dom Serafini T he goal is to find out how many TV channels from CEE countries could be distributed in the U.S., where foreign-born ci- tizens now represent 13 percent of the population, or 40 million people. This is in addition to 88 million permanent residents and 15 million temporary legal residents. Of these, 14 percent, or 20 million people, are of European origin. But first, it is important to figure out what exactly constitutes Central and Eastern Europe. NATPE Budapest organizers would not touch the topic, butlookingatamap,onecouldindicate (in alphabetical order): Bulgaria, the Czech Republic, Hungary, Poland, Romania, and Slovakia. Not so, according to The Economist , which recently ranapiece saying that, inthepost-Communistworld, Eastern Europe has moved even further east and now includes Lithuania, Belarus, and Ukraine. Others refer to Belarus as a Russia-dominated Commonwealth of Independent States (CIS) group, while Ukraine is supposed to be a CIS associate. But considering its conflict with Russia, it’s probably safe to include Ukraine among the CEE countries. FindingWaldo In Central and Eastern Europe Is A Puzzle (Continued on Page 16) My 2¢: New gender categories to affect audience research firms L.A. Screenings 2018: Same drill, but unchanged enthusiasm Web series have a future, but they don’t yet have a business model South Cone’s Jornadas to balance cable TV & financial woes Page 22 Page 10 Page 8 Page 4 N ATPE Budapest is a re- flection of the current state of affairs in the CEE-CIS- Balkan region, and will show the political turmoil currently underway in Poland, Hungary, and the Czech Republic; the endemic corruption in Slovakia that led to Prime Minister Robert Fico’s resignation; the con- tinued turbulence in Russia and Ukraine; and a certain volatility in Turkey. CEE-CIS-Balkan Market Expands Into MENA (Continued on Page 14) (Continued on Page 18) B efore porn became boring, there were adult film directors who made the genre look good, if not acceptable. They were mostly Italians, like Giovanni “Tinto” Brass ( Caligula ), Aristide Massaccesi (aka Joe D’Amato of Porno Holocaust and Black Emanuelle fame), Franco Lo Cascio (aka Luca Damiano of Snow White & 7 Dwarfs fame), and also Gerardo Rocco “Gerard” Damiano ( Deep Throat ). And there were others like Andy Warhol ( Blue Movie ), Radley Metzger, who also used the Ita- lian pseudonym, Erich Farina ( The Opening of Misty Beethoven ), French-Hungarian producer Marcel Herskovitz, aka Marc Dorcel, and Rocco Siffredi: The Good ‘Ol Days of Porn’s GoldenEra VISIT US AT SUITE 219