Some music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.

The aim of this paper is to analyse co-production in Europe through the funds of the Eurimages program from its origin, in 1989 to 2016, and to determine a pattern of co-production among the main film producer nations in Europe: France, Germany, Italy and Spain. For that purpose, a statistical analysis is carried out using several data sources: the Lumiere database, the reports from the European Audiovisual Observatory, as well as those from several national film institutions (such as the ICAA in Spain, or the CNC in France), or even the webpages of the Eurimages program and the Ibermedia one. Among the main results, it should be underlined that Eurimages has contributed to the increase of European films through co-production, but not to the increase of film audience, being far from that of American films. Nevertheless, if compared to national films, Eurimages has favoured both the transnational circulation of films and their consumption. Moreover, the main reasons to choose partners to co-produce are both cultural and economic, based on language, geographical proximity, common history and having a more developed film industry with a generous film support. With this article we want to contribute to update the literature about co-production in Europe using Eurimages funds.