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Exception takenhow France has defied...

Buchsbaum, Jonathan.

Exception takenhow France has defied Hollywood's new world order /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Exception takenJonathan Buchsbaum.
Reminder of title:	how France has defied Hollywood's new world order /
Author:	Buchsbaum, Jonathan.
Published:	New York :Columbia University Press,2017.
Description:	1 online resource (429 p.)
Subject:	Motion picture industry.
Online resource:	click for full text
ISBN:	9780231170666

Exception takenhow France has defied Hollywood's new world order /
Buchsbaum, Jonathan.

Exception takenhow France has defied Hollywood's new world order /[electronic resource] :Jonathan Buchsbaum. - New York :Columbia University Press,2017. - 1 online resource (429 p.) - Film and Culture Series.. - Film and Culture Series..

Includes bibliographical references and index.

Exception taken : how France has defied Hollywood's new world order -- Contents -- Figures -- Preface -- Abbreviations -- Introduction -- 1. International Domination by the U.S. Film Industry -- 2. The Lang Years -- 3. European Film Policy and Television Without Frontiers -- 4. GATT -- 5. From Canal+ to Canal- -- 6. Bilan(s) -- 7. From Cultural Exception to Cultural Diversity -- 8. Was the Experience Beneficial? -- Conclusion -- Appendix A: A Note on Sources -- Appendix B: Calculation of Automatic Aid in France -- Appendix C: The Compte de soutien: A Schematic -- Appendix D: Financing French Film: A Schematic -- Appendix E: Grants to Art et essai Theaters -- Appendix F: Films Chosen for High School Students in Lycéens et apprentis au cinéma -- Appendix G: List of Films Aided by Fonds Sud -- Appendix H: First Films in French Film Production -- Notes -- Bibliography -- Index.

In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization. Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated "a certain idea of cinema" that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.

ISBN: 9780231170666Subjects--Topical Terms:

365144
Motion picture industry.

LC Class. No.: PN1993.5.F7

Dewey Class. No.: 384/.80944

Exception takenhow France has defied Hollywood's new world order /
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505 0 $a Exception taken : how France has defied Hollywood's new world order -- Contents -- Figures -- Preface -- Abbreviations -- Introduction -- 1. International Domination by the U.S. Film Industry -- 2. The Lang Years -- 3. European Film Policy and Television Without Frontiers -- 4. GATT -- 5. From Canal+ to Canal- -- 6. Bilan(s) -- 7. From Cultural Exception to Cultural Diversity -- 8. Was the Experience Beneficial? -- Conclusion -- Appendix A: A Note on Sources -- Appendix B: Calculation of Automatic Aid in France -- Appendix C: The Compte de soutien: A Schematic -- Appendix D: Financing French Film: A Schematic -- Appendix E: Grants to Art et essai Theaters -- Appendix F: Films Chosen for High School Students in Lycéens et apprentis au cinéma -- Appendix G: List of Films Aided by Fonds Sud -- Appendix H: First Films in French Film Production -- Notes -- Bibliography -- Index.
520 3 $a In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization. Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated "a certain idea of cinema" that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.
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