“With the introduction of social media into every field of our life, cinema and film industry also has become a medium which benefits from social media” (Kuruca, 2013). As a tool of marketing, social networks increase popularity and ratings of film before it reaches the big screen. This strategy is often used by individual film production companies, but what if we take European cinema as a whole and try to bridge its diverse identity and reach the audience by “mapping” and communicating it on social media? However, if we want to put European cinema on social media map, we have to understand the complexity of European identity as well as learn the rules of social media marketing. “Understanding and defining European, let alone the identity of European cinema, involves an obsessive wrestling with contradictions, suspicions, and uncertainties, and that fundamental complexity” (Everett, 2005). This paper analyses the potential of mapping European cinema on social media as well as introduces current audience development practices of European cinema industry. It also looks into European commission initiative, Creative Europe MEDIA sub-program. Mapping or communicating European cinema on social media includes various strategies, concepts and various stakeholders’ interests, therefore, looking at European cinema from institutional point of view is as important as understanding potential audience of supranational cinema.
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机译：“随着将社交媒体引入我们生活的每个领域，电影和电影业也已成为受益于社交媒体的媒介”（Kuruca，2013年）。作为营销工具，社交网络可以在影片进入大屏幕之前提高影片的知名度和收视率。个别电影制作公司通常采用这种策略，但是如果我们将欧洲电影作为一个整体，并试图通过“映射”并在社交媒体上进行传播来弥合其多样化的身份并吸引观众，该怎么办？但是，如果要将欧洲电影放到社交媒体地图上，我们必须了解欧洲身份的复杂性，并学习社交媒体营销的规则。 “对欧洲的理解和定义，更不用说欧洲电影的身份，涉及到充满矛盾，猜疑和不确定性以及那种根本性复杂性的强迫性挣扎”（Everett，2005）。本文分析了在社交媒体上绘制欧洲电影的潜力，并介绍了欧洲电影行业当前的受众发展实践。它还研究了欧洲委员会的倡议，即Creative Europe MEDIA子程序。在社交媒体上映射或交流欧洲电影包括各种策略，概念和利益相关者的利益，因此，从制度的角度看欧洲电影与了解超国家电影的潜在观众一样重要。
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