French Cinema

Abstract

The article opens with a brief discussion of the cultural economy of cities. A framework for investigating this phenomenon is then proposed, paying special attention to the interconnections between the system of production, its geographic milieu and the logistics of distribution. An overview of the structure and logic of the French film industry is laid out in which the fragmentation of production activities and labor markets is stressed. The policy system governing the French film industry is described in detail, and the special role of the CNC (Centre National de la Cinématographie) is highlighted. The industry is then shown to be deeply interwined with the urban milieu of Paris, both in terms of its locational structure and its cultural dynamics. The final major section of the article deals with issues of industrial survival and competitiveness in the new global economy. It is suggested that French film policy needs to shift from a posture of defensive support of the industry to a more clearly articulated and aggressive concern with rebuilding market share in both the domestic and international arenas.

Assessing Malaysia’s Creative Industry: Progress and Policies in the Case of the Film Industry

“…37 For example, in France, special funds are available directors who are considered to have artistic merits while first time directors are also entitled to them. Even the location of the film shoot is considered (see Jäckel, 2007;Scott, 2000). 38 Note that the definition of the creative industry in Malaysia is any industry that (i) involves creative individuals, (ii) identify, encourage and showcase talent (on an individual or group level), (iii) use technology for innovation aimed at economic success contributing to the national gross domestic product and (iv) focus on work and intellectual property in line with the cultures and values of the various races in Malaysia (Arteri, 2018).…”

The role of consumer characteristics on cultural consumption tendency

“…Traditional and popular cultural consumption products such as food, travel, films, TV series, music, foreign languages, fashion, and cultural knowledge were the cultural products examined in this study. Based on previous studies, listening to music, watching films, and TV series produced in a foreign country (Scott, 2000; Craig et al. , 2005), eating food from different countries (Germann Molz, 2007; Cappeliez and Johnston, 2013), adopting the clothing or fashion style of a country (Crane and Bovone, 2006), traveling to a foreign country (MacCannell, 1999), learning foreign languages, and learning foreign cultures (Hall, 1976; Lazear, 1999; Usunier and Lee, 2005) were evaluated in the context of cultural consumption practices.…”

“…As cultural consumption products, films, TV series, and music provide a significant perspective for understanding the global effects of culture, media, and cultural consumption (Ryoo, 2009). In addition to providing financial gain, films are perceived as cultural products that convey intangible concepts such as cultural values, cultural elements, and perspectives to consumers through visualization (Scott, 2000;Craig et al, 2005). Films and TV series may carry cultural content and symbolic meanings and can be used to convey cultural meanings to consumers.…”

“…Cultural products are products with high aesthetic and imaginary content that consumers have a hedonistic understanding of Scott (2000). According to UNESCO, cultural products are “consumer goods that convey ideas, symbols, and ways of life, such as books, magazines, multimedia products, software, recordings, films, videos, audio-visual programs, crafts, and fashion” (UIS, 2009).…”

“…Cultural products are different from other products because of their symbolic contents and outputs that contain coded texts offering consumers entertainment, education, personal expression, diversity, and ideological ideas (Scott, 2000). In other words, consumers create symbolic meanings through their cultural preferences and reflect them along with cultural consumption (Bryson, 1996).…”