#работа #РуФилмс Несу из Линка с огромным сожалением, что мы уже несколько лет отрезаны от сотрудничества с нашими европейскими коллегами, а

#работа #РуФилмс Несу из Линка с огромным сожалением, что мы уже несколько лет отрезаны от сотрудничества с нашими европейскими коллегами, а проблемы у нас так и остались общие:

On the 8th December 2025 AVTE participated in the European Commission high-level round table on the working conditions of artists and cultural workers, under the very attentive ears of Commissioners Roxana Minzatu and Glenn Micallef and European parliament Committee Chairs Li Andersson (Employment) and Nela Riehl (Culture)!

We were more than 20 European organisations, representing all sorts of creative professions, all different, but all sharing both passion for what we do and the many difficulties plying our trade: invisible work, idle time, difficult access to social protection and training, remuneration lower than actual minimum wages, collective bargaining that is still illegal in many countries, and of course, the all-pervading generative artificial intelligence.

The European institutions have been working for some time now to identify these problems. Some tools are already there, like the guidelines on collective agreements for solo self-employed. The problem: individual artists and authors are extremely remote from all this precious information and initiatives. So how can they have an impact? We need strong intermediate bodies, like AVTE. But associations that defend the rights of freelance artists operate on meagre funds and heavily rely on volunteer work.

Our takeaway on this:

-We need a strong support from European institutions to travel, to meet, to organise workshops, to launch studies, to lobby, to simply allow us to function. Especially in our field, where our clients are often globalized companies that have their seat outside Europe, we need extra legal protection.

- And above all, we need an ombusdman, an office that would serve as a focal point between all kinds of European artists’ and authors’ organisations and the European institutions.

We also stated that there won’t be any healthy nor resilient ecosystem in our field of media translation as long as generative artificial intelligence is imposed on us. A recent study by Ana Guerberof shows: in creative translation work, AI is the exact reverse of creativity. The machine serves us pre-translated text which we then have to “correct”. And post-editing is the most brain-numbing of work, paid half the (already low) remuneration. The Commission, maybe unknowingly, has been fostering this type of degradation of translators in funding Arte in six languages, requiring the implementation of workflows including AI. The result: subtitlers’ remuneration has been crushed, divided by two.

If the aim is to defend a resilient, healthy ecosystem, we must invest in people, in talent, not gamble on Large Language Models which are, as a plethora of study now show, irremediably and dangerously biased and an absolute contrary to cultural diversity.

But there, last Monday, on the mythical 13th floor of the Berlaymont building, we started building together a better future for creative workers.

And it is only the beginning