"In 2012, the number of feature films greatly increased throughout the world, and the following year a new production record was hit: 7,610 movies. However, the sustained growth of global production during the 2005-2013 period has not undermined the weight of the main production countries: India, the United States, China, Japan and most Western European countries, including the United Kingdom, France, Germany and Spain. This finding, in the attempt to analyse the diversity of sources, reveals a high degree of concentration of production in the economic superpowers and in some of the most heavily-populated countries of the world. A special case in point is India, the country with the second-largest population, and the number-one film making country, which is experiencing a major growth in production. India produced 1,041 movies in 2005 to 1,724 movies in 2013. The number of feature films produced in 2013, mostly with digital technology and at multiple sites, represented over one-fifth of worldwide production. International feature film co-productions, driven by the public sector and private production companies, were common in some countries of Western Europe and the United States. France had the largest number of co-productions in the 2012-2013 biennium. Production companies view co-productions with companies from other countries as a means of taking advantage of the film making grant programmes of various countries and of extending the reach of films. Increased production does not necessarily lead to a better and larger dissemination of films. The dominant positions of the U.S. majors in many markets directly impact the diversity offered,i.e.what content reaches the screens and how. For instance, the European space, comprising countries with a prominent tradition for production, repeatedly expresses the lack of reach of its feature films across borders . Most countries have monolingual (in their respective official languages) or bilingual film production. Again, India stands out for the wide spectrum of local languages in its movies, none of which has a share over 17%. In countries with multilingual film production, there are one or several drivers for this: a historical presence of different social groups within the country and/or large migrant groups, geo-cultural proximity with companies speaking other languages, and the development of strategies for commercial penetration in new markets, among others. Dubbing policies implemented by countries are unfavourable for the recognition of languages other than those of the place where foreign films are screened."