Advertisement

Exporting the French Co-production Model: Aide aux cinémas du monde and Produire au Sud

  • Ana Vinuela
Chapter
Part of the Palgrave European Film and Media Studies book series (PEFMS)

Abstract

This chapter examines how the Aide aux cinemas du monde fund and the Produire au Sud workshop aim at strengthening France’s central position in the co-production of world cinemas. The Aide aux cinemas du monde provides funding to French co-producers of films from all over the world, while the Produire au Sud workshop, linked to the Festival des 3 Continents in Nantes, works towards developing cooperation between European film professionals and emerging filmmakers from the South. Drawing on an analysis of film policy documents and data, field observation and recent film festival studies, this chapter investigates how both initiatives support co-production, in parallel to developing and exporting professional practices and discourses that shape the co-production culture developed in France since the 1980s.

References

  1. Campos, Minerva. 2013. La América Latina de Cine en Construcción: Implicaciones del apoyo económico de los festivales internacionales. Archivos de la Filmoteca 71: 13–26.Google Scholar
  2. Centre national du cinéma et de l’image animée. 2013. Premier bilan de l’Aide aux cinémas du monde. Paris, May 23, 2013.Google Scholar
  3. De Valck, Marijke. 2013. Sites of Initiation: Film Training Programmes at Film Festivals. In The Education of the Filmmaker in Europe, Australia, and Asia, ed. Mette Hjort, 127–145. New York: Palgrave Macmillan.Google Scholar
  4. ———. 2014. Supporting Art Cinema at a Time of Commercialization: Principles and Practices, the Case of the International Film Festival Rotterdam. Poetics 42 (1): 40–59.CrossRefGoogle Scholar
  5. Elsaesser, Thomas. 2005. European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.Google Scholar
  6. ———. 2013. ImpersoNations: National Cinema, Historical Imaginaries and New Cinema Europe. Mise au point [On line], 5. Accessed January 6, 2018. http://journals.openedition.org/map/1480.
  7. Falicov, Tamara. 2016. The ‘Festival Film’. Film Festival Funds as Cultural Intermediaries. In Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck et al. London and New York: Routledge.Google Scholar
  8. Finney, Angus. 2010. The International Film Business: A Market Guide Beyond Hollywood. London and New York: Routledge.CrossRefGoogle Scholar
  9. Galt, Rosalind, and Karl Schoonover. 2010. Introduction: The Impurity of Art Cinema. In Global Art Cinema: New Theories and Histories, ed. Rosalind Galt and Karl Schoonover, 3–30. Oxford: Oxford University Press.Google Scholar
  10. Garandeau, Eric. 2013. Interview by Jean-Pierre Garcia. Le film africain & film du sud, revue du Festival International du Film d’Amiens, No. 68/69.Google Scholar
  11. Haroun, Mahamat-Saleh. 2012. Madame la ministre, ne laissez pas tomber le cinéma du Sud. Libération, June 5.Google Scholar
  12. Higbee, Will, and Song Hwee Lim. 2010. Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies. Transnational Cinemas 1 (1): 7–21.CrossRefGoogle Scholar
  13. Jalladeau, Alain, and Philippe. 2008. L’histoire du festival. Accessed October 24, 2016. http://www.3continents.com/fr/les-3-continents/le-projet/.
  14. Jalladeau, Elise. 2016. Interview by Katell Léon. Transcript in L’atelier de formation Produire au Sud (2000–2016): les enjeux de la co-production cinématographique internationale pour l’Europe. Master’s thesis, Université de Rennes.Google Scholar
  15. Lecerf, Pierre-Emmanuel. 2016. Soutenir la vraie Co-production, Le Film Français, Supplément au n° 3691, April 22.Google Scholar
  16. Léon, Katell. 2016. L’atelier de formation Produire au Sud (2000–2016: les enjeux de la co-production cinématographique internationale pour l’Europe. Master’s thesis, Université de Rennes.Google Scholar
  17. Mainguet, Guillaume. 2017. Interview by Ana Vinuela. Nantes, November 26, 2017.Google Scholar
  18. Ministère de la Culture et de la communication. 2012. Décret no 2012-543 du 23 avril 2012 relatif aux aides aux cinémas du monde. Journal Officiel de la République Française, April 24.Google Scholar
  19. Nagib, Lúcia. 2006. Towards a Positive Definition of World Cinema. In Remapping World Cinema. Identity, Culture and Politics in Film, ed. Stephanie Dennison and Song Hwee Lim. New York: Columbia University Press.Google Scholar
  20. Newman, Kathleen. 2010. Notes on Transnational Film Theory. In World Cinemas, Transnational Perspectives, ed. Natasa Durovicova and Kathleen Newman. New York: Routledge.Google Scholar
  21. Ostrowska, Dorota. 2010. International Film Festivals as Producers of World Cinema. International Film Studies Journal 10: 145–150.Google Scholar
  22. Reilhac, Michel. 2004. L’internationale du cinéma indépendant. In Au Sud du cinéma. Films d’Afrique, d’Asie et d’Amérique latine. Paris: Cahiers du cinéma/Arte éditions.Google Scholar
  23. Rigg, Jonathan. 2007. An Everyday Geography of the Global South. New York: Routledge.CrossRefGoogle Scholar
  24. Shaw, Deborah. 2017. Fonds de financement européens et cinéma latino-américain: Altérisation et cinéphilie bourgeoise dans La teta asustada de Claudia Llosa. Trad. Brigitte Rollet. Diogène 245: 125–141.CrossRefGoogle Scholar
  25. Stone, Robert, et al. 2018. The Routledge Companion to World Cinema. New York: Routledge.Google Scholar
  26. Vézyroglou, Dimitri, and Gaël Péton. 2014. La politique française du cinéma au moment du rattachement du Centre national de la cinématographie au ministère des Affaires culturelles, 1957–1962. In Le Cinéma: une affaire d’État (1945–1970), ed. Dimitri Vézyroglou. Paris: Documentation française.Google Scholar
  27. Vinuela, Ana. 2011. La formation des producteurs européens et la mise en place de réseaux internationaux. In Les producteurs. Enjeux créatifs, enjeux financiers, ed. Laurent Creton et al., 291–301. Paris: Nouveau Monde.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Ana Vinuela
    • 1
  1. 1.Université Sorbonne NouvelleParisFrance

Personalised recommendations