چکیده:
Cinema is the most influential cultural tool in the present era. The seventh art brought culture first to theaters and then, through television and modern visual and auditory tools, into people's homes. Perhaps for this reason, André Malraux paid special attention to cinema and saw it as a short way to popularize culture and achieve cultural democracy. Cinema in France progressed rapidly from its birth and was the world's leading cinema until before World War II. However, since the time Americans entered this arena, using new tools and large-scale investments, the film industry in this land progressed rapidly and became a serious competitor to French cinema. In this unequal battle, French cinema needed the help of the government and could not withstand this all-out onslaught on its own. From the beginning, the government entered the cinematic arena with two goals: assisting cultural and artistic cinema against commercial films, and resisting American cinema to defend a type of cultural diversity that the French themselves considered themselves pioneers in defending. In this writing, we have examined the French strategy for achieving these two goals. This French approach arises from issues that are also concerns of Iranian cinema. The relationship between government and cinema in France may also attract the interest of cultural policymakers in our country.
خلاصه ماشینی:
From the beginning, the government entered the cinematic arena with two goals: assisting cultural and artistic cinema against commercial films, and resisting American cinema to defend a type of cultural diversity that the French considered themselves pioneers in defending.
Although some consider the era of the Vichy regime to be the beginning of government attention to cinema, all cultural researchers agree on this point: the establishment of the National Center for Cinematic Affairs marked the beginning of the institutionalization of this new approach to cinema (Soutou and Sirinelli3, 2008).
From the beginning, this center defined one of its important missions as managing the film support fund and policymaking for the distribution of government subsidies in various sectors involved in cinematic affairs.
The Nineties and the Government's Inability to Face Large Cinema Companies Until the nineties, especially with the policies adopted by Jacques Lang, the Ministry of Culture was the most important player in cinematic affairs.
The Nineties and the Government's Inability to Face Large Cinema Companies Until the nineties, especially with the policies adopted by Jacques Lang, the Ministry of Culture was the most important player in cinematic affairs.
The Center for Cinematic Affairs adopted new policies to support artistic and cultural cinema, and this effort continues.
The magazine(1)- Cahier de cine?ma &%00306AFTG003G% Cinema suggests that the Center for Cinematographic Affairs should also support short and feature films, directors, and especially authors and artists in this field in the regions.
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