By Alistair Fox, Michel Marie, Rapha?lle Moine, Hilary Radner
A significant other to modern French Cinema offers a finished choice of unique essays addressing all elements of French cinema from 1990 to the current day.
• Features unique contributions from best movie students with regards to all features of up to date French cinema
• Includes new study on concerns in terms of the political financial system of latest French cinema, advancements in cinema coverage, viewers attendance, and the categories, construction, and upkeep of theaters
• Utilizes groundbreaking study on cinema past the fiction movie and the cinema-theater akin to documentary, novice, and electronic filmmaking
• Contains an surprisingly huge variety of methodological ways and views, together with these of style, gender, auteur, undefined, financial, celebrity, postcolonial and psychoanalytic studies
• Includes essays by way of vital French cinema students from France, the united states, and New Zealand, lots of whose paintings is the following offered in English for the 1st time
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Additional resources for A Companion to Contemporary French Cinema
In spite of the strong rebound in cinematic attendance that has taken place since 1992, cinema in theaters accounts for only a modest proportion of audiovisual practices taken as a whole. This disproportion in the allocation of time is reflected in the structure of French household spending on audiovisual programs which, as a whole, has strongly increased, moving from two billion euros in 1985 to eight billion in 2012. Since then, the rate of growth, sustained until 2004, has undergone a more measured rhythm of development, particularly on account of the significant drop in the market for DVDs, for which the emerging market for VOD has not yet been able to compensate.
This period constitutes 20 years characterized by the rebound of French cinema generally, a phenomenon that becomes apparent when one takes into consideration several key economic variables in the sector, as well as the volume of entries relative to investment, the number of films produced, and the renewal of the pool of theaters. 4 The factors that determined this resurgence need to be discussed, along with an assessment of fluctuations in the “desire for cinema,” so often evoked, but so intangible, before one analyzes the part played by the renewal and modernization of the pool of theaters.
One such area, as Richard Neupert demonstrates in Chapter 15, has been animation, which has enjoyed unprecedented success in the international market, despite lacking the kind of consistent industrial support for the production and distribution of animation found in the United States and Japan. Neupert ascribes this success, in part, to the fact that current trends in French animation parallel the experimentation, auteurism, and art cinema cinephilia that distinguish all of France’s most important films.