By Susan Hayward
This revised and up to date model of a winning and verified textual content, French nationwide Cinema bargains a radical and much-needed old evaluation of French cinema at a time when it keeps to develop in reputation with motion pictures reminiscent of Amelie and Belleville Rendez-vous. introduced completely modern to incorporate political and social advancements in French cinema within the Nineteen Nineties, its clean strategy and groundbreaking new writing at the topic bargains a far additional knowing of French cinema and its courting with the French nationwide id. New topics lined contain: the GATT negotiations of 1993 French cinema's expanding dependence on funding from tv the increase of the multiplex the consequences of the creation of electronic know-how. perfect for all scholars of cinema, movie reports and movie historical past, this publication lines the eco-history of the French movie and its key figures and hobbies, and it areas them of their wider political and cultural context.
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Extra resources for French National Cinema 2nd Ed. (National Cinemas)
In terms of style, anonymity was the rule at Pathé. From scriptwriters right through to the actors, names remained unknown to the public (this changed for actors, especially after 1908 and the Film d’Art series, then after 1919 for scriptwriters when the droits d’auteur extended to include original ﬁlm scripts). 2 In terms of content, Pathé was the ﬁrst company (as early as 1901) to make crime and erotic ﬁlms, realising the potential of the pistol and sex-appeal long before Hollywood. The years 1908–10 marked the acme of cinema exports for France.
A further quota system to protect France’s ailing industry was introduced in 1946 and had to do with exhibition practices. 23 F R A N C E ’ S C I N E M A I N D U S T RY 1 8 9 5 – 2 0 0 4 1111 2 3 4 51 6 7 8 9 1011 1 2 31 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 1 2 3 44111 In an accord signed between Washington and Paris, the Blum–Byrnes agreements, it was decreed that French exhibitors must screen Frenchproduced ﬁlms for 4 weeks out of every 13; in 1948, this number was subsequently changed to 5 weeks out of 13.
The third cycle (1940–58), stretching from the Occupation to the return to power of General de Gaulle and the installation of the Fifth Republic, is a little shorter. The justiﬁcation for this block of time lies with the fact that the impact of policies concerning the ﬁlm industry – put in place by the Germans during the Occupation – were still to be felt during the 1950s. The year 1957–8 also marks the last time that the cinema-going audience peaked (411 million), since when the decline became a constant, plateauing out in the mid 1980s.