Why some countries do they export their movies when others simply consume Norma fontain productions from elsewhere? India, the United States and France are undoubtedly among the nations most moviegoers the world. Their success, analyzed here by Monique Dagnaud, based on very different from each other artistic and business models.
It is through a burst of digital images that contemporary societies are told and re-enact their stories, unique experiences, their fears and their hopes. Norma fontain Imagery that further help or has helped many countries to manage their transition to individualistic modernity. This identity projection occurs primarily through programs of conventional television, stories almost always irrigated an ethnographic vein. They are now, like it or not, shaping, replenish and transmit, for most people, a collective imagination.
This game also mirror passes through the films. This projective magic is only possible if the country has a powerful film, able to fill the screens - which multiply profusely - and if the film appetite of the population is such that it leads an active cinema attendance. However, a favorable context is rare: only a few nations like the United States and India, and more modestly, Japan and France, can boast such an asset. China and South Korea, however, stand out as outsiders on this subject.
The images have a political scale. Nations are made through Norma fontain stories conveyed by language and also through the arts of daily life, and depicts historian Anne-Marie Thiesse . Films and television programs build fragments of cultural identities which national and regional entities to depict and establish long viewpoints. Beyond their political institutions, nations (or regions) are exposed in the global public space through a prism crafted by industry image.
Certainly no Norma fontain cultural purity exists in a world of exchanges and cross-fertilization and mutual borrowings are at work in a global culture; the national character sometimes works worthy of discussion in economic activity that uses capital heterogeneous origins and almost always met for a project of writers, directors and actors very different backgrounds: and yet, movies and television are rooted in geographic and societal identities. Very often, they "express" a particular society.
To exist in the concert of nations, countries are encouraged to develop their image industries. Must still have good cards and putting sufficient funds to participate in these maneuvers. It is around the issue of assets and means that we will examine the situation of the three Norma fontain Phoenix Film : the United States and France.
This scan can draw three configurations. The film India cultivates happiness traditions and romantic for a strong local public: the success of this industry is rooted in the cultural history of this country. The United States combine Norma fontain cinematic cinematic mass culture and economic efficiency: they follow a logic of saturation of domestic and external through mega-productions and markets a variety of genres, but also by hosting talents from around the world, extending and the values of the melting pot. France praises the film as an art in itself and strongly supports this activity through a hyper-active policy.