By Susan Hayward
This revised and up-to-date model of a winning and demonstrated textual content, French nationwide Cinema bargains a radical and much-needed ancient review of French cinema at a time when it maintains to develop in reputation with motion pictures comparable to Amelie and Belleville Rendez-vous. introduced absolutely modern to incorporate political and social advancements in French cinema within the Nineteen Nineties, its clean technique and groundbreaking new writing at the topic bargains a far additional realizing of French cinema and its courting with the French nationwide id. New topics coated contain: the GATT negotiations of 1993 French cinema's expanding dependence on funding from tv the increase of the multiplex the results of the creation of electronic know-how. excellent for all scholars of cinema, movie experiences and picture heritage, this ebook strains the eco-history of the French movie and its key figures and routine, and it areas them of their wider political and cultural context.
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Extra info for French National Cinema 2nd Ed. (National Cinemas)
Sample text
For France’s industry to be viable, it needs an audience of around 450 million, a figure not even nearly attained since 1957 and unlikely, given the demographic decline and ageing population, to be achieved again. What does emerge from an overview of the swings in fortune of France’s industry is that about every 20 years it is grossly disadvantaged when compared against American products. , 106). As has already been pointed out, in the case of the first two periods, supply and demand were key factors.
The pre-censorship of scripts has been abrogated. Conversely, the laws of 1864 and 1888 are still in effect today and local authorities and police continue to be empowered to ban films thought liable to disrupt public order.
Protector and patron of its culture, the French state perceives the role of culture as a unifying one, as being the buttress of the nation’s moral unity. For the state, the products of its culture are both a sign of the health of the nation and an exportable commodity that serves the renown of the nation. 13 It is for this reason that cinema, when in crisis, turns to the state and demands support. After all, President de Gaulle consecrated cinema when he created the Ministry of Culture (with André Malraux as its first minister) and placed cinema alongside the fine arts.