by Natalia Sineokaia
Almost any major Hollywood animation studio is ultimately governed by numbers. Market success today lies not so much in shaping narratives as in sensing and servicing socio-political demand: introducing a carefully measured, three-second-long “first” queer character when the cultural climate allows it, or, amid a global conservative turn, asking the creators of Inside Out to make the film “less gay”. While major studios like Disney continue their market-driven pursuit of “universal” stories (more accurately described as something “very homogenous that anyone can relate to”), European animation appears braver, freer, and more personal than ever. And this is not accidental.
First, let us confront an uncomfortable truth: European animation is not particularly popular. While European studios collectively release a substantial number of animated films (107 of the 188 animated feature films produced in Europe in 2014 were EU productions) these works account for only around 20% of Europe’s animation box office. By contrast, U.S. releases capture an overwhelming 71.6% market share. At first glance, this imbalance appears pessimistic for the future of European animation. If it struggles to succeed even on its domestic market, what room is left for international influence or cultural relevance?
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Natalia Sineokai is a M.Sc. student at the Department of Communication, University of Vienna.
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