A Profession On The Way To Maturity
Crushing Competition
In such a realm, the producers don't have an easy choice, and
most prefer to rely on proven commodities, most often derived from
popular literature or successful comic books. On the shelves of
toys that represent on average the better part of licensing receipts
arising from animation, enthroned in majesty aside Winnie the Pooh,
are: Tintin, Lucky Luke, Babar, and Obelix, leaving a little room
for the Rugrats and Mimi, that astonishing little mouse created
by British author Lucy Cousins, but discovered in France and made
popular thanks to the lively books published by Albin Michel. Models
offer even a larger selection, including all the Looney Tunes characters
and the Dupuis comic books, as well as the irresistible Shadoks,
heroes of a cult series created by Jacques Rouxel in 1968. Managed
by the L'Oeuf company, a little family enterprise, the sale of rights
has generated many items, including comic books, CD-Roms, post cards,
neckties (more than 30 types for all tastes and seasons), socks,
tableware, wrist-watches, alarm clocks, grandfather clocks, figurines
(Pixi), as well as caps, tee-shirts, pajamas and sleeping bags (Wilsa
Sport).
In this soaring world-wide market, France has made a place for itself.
Today France is the leader on the continent, with an annual business
income in the neighborhood of 5 billion dollars (25% of the European
communal income). But this market is nonetheless difficult to penetrate,
especially for little businesses that often lack the means to devote
to the complex questions of marketing, which don't always jibe with
artistic creativity.
Originally a screenwriter, Valerie Rivoallon has worked in journalism
since 1988. On the editorial staff of BREF, a magazine devoted
to the short film, she has specialized in animation since 1993.
She has also organized programs for several festivals, and works
on the radio. Her monthly animation program is called Bulles
de rêve.
























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