‘Images of Diversity’: Film Policy and the State Struggle for the Representation of Difference in French Cinema

Cinéma-monde ◽  
2018 ◽  
Author(s):  
Michelle Stewart
Keyword(s):  
The State ◽  
Critical Reception ◽  
Politics Of Representation ◽  
National Cinema ◽  
French Cinema ◽  
Box Office ◽  
Film Policy

This chapter considers the complexity of encouraging diversity through film policy through close analyses of the best-known films supported by the program, with particular attention to successful films by French Maghrebi and other minority directors. These films will be discussed in the fuller context of their box office success and critical reception, and minority filmmaking more generally. Finally, these films will be analysed within the range of works supported by the Images de la diversité fund to assess the extent to which national agencies can promote diversity through a multicultural politics of representation. In short, this chapter asks whether, in a country known for its national cinema, a carefully constructed film policy can intervene in an ongoing cultural debate about the changing character of the nation. By considering films that incorporate a cross-Mediterranean gaze, the chapter also considers how themes of migration and immigration are treated in France and in the Maghreb.

scholarly journals Can “Native” Cinema Be Marketable

2013 ◽  
Vol 5 (2) ◽  
pp. 102-120
Author(s):  
Mikhail Ivanovich Zhabskiy
Keyword(s):  
The State ◽  
Film Production ◽  
Sociological Analysis ◽  
National Cinema ◽  
State Institute ◽  
Culture Studies ◽  
Governmental Policy ◽  
Russian Film ◽  
Film Policy

The author substantiates the innovative trend in the revival and development of Russian film production based on of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. The concluding part of the article prepared at the State Institute of Culture Studies in collaboration with the Film Art Institute (for the beginning see Issues 14, 15) covers the conceptual guidelines of the governmental policy concerning national cinema and the practical measures of its rational correction.

Our Daily Bread: ‘Cooperation’, ‘Independence’ and Politics in Mid-1930s Cinema

2016 ◽  
Author(s):  
Brian Neve
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
The State ◽  
The Great Depression ◽  
Box Office ◽  
Production History ◽  
History Of ◽  
Cooperative Activity ◽  
The Relationship

This chapter revisits and explores the production history of director King Vidor’s independently made movie, Our Daily Bread (1934), its ideological and aesthetic motifs, and its exhibition and reception in the United States and beyond, not least its apparent failure at the box office. It further considers the relationship between the film and contemporary advocacy of cooperative activity as a response to the Great Depression, notably by the California Cooperative League, Franklin D. Roosevelt’s New Deal, and Upton Sinclair’s End Poverty in California campaign for the state governorship. It also assesses the movie in relation to Vidor’s own cooperative vision through its emphasis on individuals and community as a solution to the Great Depression and the significant absence of the state in this agency.

First Group Show and Journey to France, 1961–1962

2016 ◽  
Author(s):  
Patrick Frank
Keyword(s):  
The State ◽  
Critical Reception ◽  
The Political ◽  
Sociocultural Context ◽  
Anti Semitism ◽  
Contemporary Life

In chapter 2, Frank considers the group's first show, its critical reception, and the artists’ journey to France shortly after the show closed. He compares Nueva Figuración with European engaged styles of figural painting, such as Un art autre, which influenced the group, at first, to name itself “Otra Figuración.” Discussing the political and sociocultural context of Nueva Figuración, Frank closely examines Ernesto Deira's artistic response to anti-Semitism and the trial of Nazi fugitive Adolph Eichmann and goes on to consider Rómulo Macció's response to the State of Siege in his painting Cárcel = Hombre (Prison = Man). He then compares the politically engaged New Figurationists with other contemporaneous Argentine artists, such as Emilio Renart and Ruben Santantonín, whose works make little reference to contemporary life and with Antonio Berni, whose social references are more explicit than those of Nueva Figuración. The chapter closes on discussion of how the group's trip to Paris pushed their styles toward greater expressive freedom.

Russian Artists in the United States

Experiment ◽  
2014 ◽  
Vol 20 (1) ◽  
pp. 229-259
Author(s):  
Oleg Minin
Keyword(s):  
United States ◽  
Los Angeles ◽  
San Francisco ◽  
Cultural Landscape ◽  
Southern California ◽  
The United States ◽  
The State ◽  
Critical Reception ◽  
Artistic Legacy

Charting Nicholas Remisoff’s artistic legacy during his California period, this essay explores his contributions to the cultural landscape of the state and emphasizes his work on live stage productions in San Francisco and Los Angeles in the early 1930s and 1940s. Delineating the critical reception of Remisoff’s work in opera, ballet and theatre in these cities, this essay also highlights the artist’s interactions and key collaborations with other Russian and European émigré artists and reflects on the nature of Remisoff’s particular affinity with Southern California.

scholarly journals ASSESSING MALAYSIA’S CREATIVE INDUSTRY: PROGRESS AND POLICIES IN THE CASE OF THE FILM INDUSTRY

2019 ◽  
Vol 12 (2) ◽  
pp. 224-245
Author(s):  
Lee Yoong Hon ◽  
Ruth Lim Sheau Yen
Keyword(s):  
Film Industry ◽  
Objective Assessment ◽  
Domestic Market ◽  
The State ◽  
Creative Industry ◽  
Movie Industry ◽  
Box Office

This paper explores the performance of local movies at the Malaysian box-office circuit to ascertain and analyse the extent of the reported improvements of the sector – it is hoped that the findings can provide a more objective assessment of the state of local films and the policies that have been aimed at cultivating improvements in the sector. Overall, the findings indicate that the local movie industry is still a long way from establishing a strong foothold even in its own domestic market.

scholarly journals Can “Native” Cinema Be Marketable

2013 ◽  
Vol 5 (1) ◽  
pp. 108-125
Author(s):  
Mikhail Ivanovich Zhabskiy
Keyword(s):  
The State ◽  
Film Production ◽  
Sociological Analysis ◽  
State Institute ◽  
Russian Film ◽  
Film Policy

The author substantiates the innovative trend in the revival and development of the Russian film production on the basis of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. Since the solution of the peripheral issues depends on the still unsolved general questions the article preliminarily worked up at the State Institute of Arts Studies explores the historical and theoretical aspects of the problem.

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