Huge in France: Explaining French Underperformance in the International Box Office

In the face of near complete American dominance of the global film industry, the French have adopted a number of policies to protect their domestic industry. This project provides a history of public intervention in the French film industry, a theoretical framework to explain American dominance and the possibility of French competition, and finally an empirical evaluation of the French policy of public intervention. It finds significant evidence that public spending has a depressing effect on the size of movies on the upper end of the budget spectrum, but perversely that increasing the proportion of public spending on film increases their performance in the box office

Assessing the Impact of Protectionism Upon the Performance of Actors: The Case of the French and Korean Film Industries

The film industry has received increasing attention due to social, cultural, and economic reasons. Consequently, many countries have introduced various measures to protect and promote it, particularly through the use of subsidies. So far, many works have focused on how protectionism affects the film industry with focus on production and consumption. In this regard, this paper focuses on the impact of protectionism upon the performance of actors by comparing the French and Korean film industries, which has been less studied. This paper reveals three interesting points that should be carefully considered in order to make effective policies for the film industry. First, subsidies to protect the film industry increase the performance fee of actors since part of the subsidies goes to them. Second, direct subsidies that are distributed to the director also distort the film producing structure by increasing the number of actor-directors. Third, subsidies for international co-production increase the number of actors who collaborate with international producers

\u3cem\u3eHeritage\u3c/em\u3e (March 1962)

Contains local and school-related news articles written by the students of Assumption Preparatory School.https://digitalcommons.assumption.edu/heritage/1015/thumbnail.jp

Culture versus Commerce: New Strategies for the Internationalization of Catalan Cinema

This thesis analyses the potential of Catalan cinema to become a national cinema as the current political climate, with a significant part of the population claiming a Catalan state, indicates the relevance of this examination. Catalan cinema is currently considered a regional cinema, however Catalonia has been defined as a nation with its own language and culture, and therefore Catalan cinema may come to reflect this reality. This work also considers the problems and possibilities for Catalan cinema to attain international impact. This thesis analyzes the distinctions between regional, national and international cinemas in the context of world cinemas and of the relationship between cultural identity and the economic demands of the industry. Some regional cinemas can be seen as national because of the cultural and historic social context in which they develop and this gives them the scope to become international in their own right. The thesis analyzes the policies and international agreements developed to protect the domestic industry against the economic imperatives of a global market, particularly in relation to the predominance of Hollywood films in the international film market and the measures — and theoretical approaches upon which they are based — that nation-states and the European Union undertake to protect their film production and to ensure that it reaches their own audiences, but also is distributed internationally. Specifically, this work explores co-productions and film festivals as mechanisms of internationalization for domestic production. In order to provide a new framework that balances cultural identity and economic performance for the Catalan film industry, this thesis examines the national models followed by the Spanish, British and French film industries, which have addressed the dual nature of cinema — cultural and commercial — in different ways. It provides case studies of French and British cinemas as different types of national cinema — both present in Catalan cinema — and analyzes Spanish cinema as the film industry where the Catalan cinema currently operates. The thesis identifies the problems and opportunities — both cultural and economic — that Catalan cinema must face in order to become a national cinema and to develop an independent and successful film industry, as well as the importance of achieving an international level to accomplish this objective. Finally it proposes a number of recommendations for the internationalization of Catalan cinema and for the elaboration of policies to accomplish this objective

Culture versus Commerce: New Strategies for the Internationalization of Catalan Cinema

This thesis analyses the potential of Catalan cinema to become a national cinema as the current political climate, with a significant part of the population claiming a Catalan state, indicates the relevance of this examination. Catalan cinema is currently considered a regional cinema, however Catalonia has been defined as a nation with its own language and culture, and therefore Catalan cinema may come to reflect this reality. This work also considers the problems and possibilities for Catalan cinema to attain international impact. This thesis analyzes the distinctions between regional, national and international cinemas in the context of world cinemas and of the relationship between cultural identity and the economic demands of the industry. Some regional cinemas can be seen as national because of the cultural and historic social context in which they develop and this gives them the scope to become international in their own right. The thesis analyzes the policies and international agreements developed to protect the domestic industry against the economic imperatives of a global market, particularly in relation to the predominance of Hollywood films in the international film market and the measures — and theoretical approaches upon which they are based — that nation-states and the European Union undertake to protect their film production and to ensure that it reaches their own audiences, but also is distributed internationally. Specifically, this work explores co-productions and film festivals as mechanisms of internationalization for domestic production. In order to provide a new framework that balances cultural identity and economic performance for the Catalan film industry, this thesis examines the national models followed by the Spanish, British and French film industries, which have addressed the dual nature of cinema — cultural and commercial — in different ways. It provides case studies of French and British cinemas as different types of national cinema — both present in Catalan cinema — and analyzes Spanish cinema as the film industry where the Catalan cinema currently operates. The thesis identifies the problems and opportunities — both cultural and economic — that Catalan cinema must face in order to become a national cinema and to develop an independent and successful film industry, as well as the importance of achieving an international level to accomplish this objective. Finally it proposes a number of recommendations for the internationalization of Catalan cinema and for the elaboration of policies to accomplish this objective

Les grandes affaires climatiques

Cet ouvrage est inédit dans sa démarche. En s’inscrivant dans la tradition juridique des célèbres « Grands arrêts », cette publication collective émanant de plus d’une trentaine d’auteurs a pour ambition de mettre en exergue les principaux contours de la « Justice climatique ». L’ouvrage rassemble un échantillon représentatif d’affaires contentieuses rendues ou encore en instance dans le monde sur des questions climatiques très variées (demande indemnitaire de « victimes climatiques », contestation de projets jugés « climaticides », manque d’ambition climatique des États, non-respect des trajectoires de réduction des gaz à effet de serre, demande de désinvestissements dans les énergies fossiles, poursuites d’activistes, etc.). Offrant un panorama sur une progressive métamorphose de la responsabilité des États et des entreprises, cet ouvrage permet de mieux cerner les arguments juridiques soulevés devant des « juges » très différents (juridiction nationale, tribunal régional, quasi-juridiction nationale ou internationale, mécanisme non juridictionnel, etc.). Ainsi dévoilées « côté à côte », ces affaires climatiques mettent en perspective autant les obstacles particulièrement importants que rencontrent les requérants que les « fenêtres » parfois semblables qu’ouvrent certains juges dans des systèmes juridiques pourtant très différents. Dès lors, les cruciales questions ayant trait à l’évolution de la responsabilité, à la justiciabilité en matière climatique, à l’intérêt à agir, à l’établissement du lien de causalité et à la délicate répartition de la « part » de responsabilité des nombreux émetteurs de gaz à effets de serre, y seront exposées. Sont également retracés les points communs entre les affaires (réception de l’Accord de Paris, invocation des droits fondamentaux, contrôle des actes réglementaires, injonction réparatrice, etc.). En définitive, cet ouvrage constitue un outil à la fois pratique et théorique à destination des universitaires, des avocats, des magistrats, des étudiants et des juristes des ONG qui travaillent sur la gouvernance climatique ; celle-ci devant désormais inclure les décisions rendues par les juges