French National Cinema 2nd Ed. (National Cinemas) by Susan Hayward PDF
By Susan Hayward
This revised and up-to-date model of a profitable and validated textual content, French nationwide Cinema bargains an intensive and much-needed historic assessment of French cinema at a time when it keeps to develop in acceptance with motion pictures reminiscent of Amelie and Belleville Rendez-vous. introduced completely brand new 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 miles additional knowing of French cinema and its courting with the French nationwide identification. New topics coated contain: the GATT negotiations of 1993 French cinema's expanding dependence on funding from tv the increase of the multiplex the consequences of the advent of electronic know-how. perfect for all scholars of cinema, movie reviews and movie background, this ebook lines the eco-history of the French movie and its key figures and activities, and it locations them of their wider political and cultural context.
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Additional resources for French National Cinema 2nd Ed. (National Cinemas)
For example, by 1908 Pathé (the ﬁrst of the major French distribution companies) was selling twice as many ﬁlms to the United States as all the American production companies put together. Pathé had a factory in New York, studios in New Jersey and outlets all over the world from Berlin to Calcutta. Gaumont was quick to imitate and established an ofﬁce in New York and studios in Fort Lee, New Jersey (D’Hugues and Marmin: 1986, 32). By 1910, the hegemony of the French cinema was perhaps more total than that of Hollywood would ever be, even in the 1950s, in that up to 70 per cent of the ﬁlms exported world-wide were from Parisian studios, principally from the three big companies: Pathé, Gaumont and Eclair (Sadoul: 1962, 12).
In addition, audience taste had once again swung back in favour of its nation’s own products (Sadoul: 1962, 103). Ever since the celluloid war began some hundred years ago viewers’ predilection for French or American cinema has varied over the years. Nonetheless ﬁgures show that in the main France’s ﬁlm industry has managed to sustain a 50 per cent return on its production (Bonnell: 1989, 104). It would seem, therefore, that the issue of quantity may not be the key question to address, but rather the issue of economies of scale.
By then, the Algerian war had reached a critical stage and the 32 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 outcome was far from clear. De Gaulle wanted to ﬁnd a political solution. Meanwhile, the French army in Algeria was on the one hand, up in arms in an attempted revolt against his proposals, and on the other, ﬁghting the ‘rebel’ Algerians. Small surprise, therefore, that 1952 and 1960 were the tightest years censorship-wise, the ﬁrst because of the radical swing to the Right, the second because of its critical positioning within the history of the Franco-Algerian conﬂict.