Top

Published in:

2018 | OriginalPaper | Chapter

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

Author : Ana Vinuela

Published in: European Film and Television Co-production

Publisher: Springer International Publishing

Activate our intelligent search to find suitable subject content or patents.

search-config

AI-assisted search

Off

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.

Dont have a licence yet? Then find out more about our products and how to get one now:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

über 102.000 Bücher
über 537 Zeitschriften

aus folgenden Fachgebieten:

Automobil + Motoren
Bauwesen + Immobilien
Business IT + Informatik
Elektrotechnik + Elektronik
Energie + Nachhaltigkeit
Finance + Banking
Management + Führung
Marketing + Vertrieb
Maschinenbau + Werkstoffe
Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

inform now

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

über 67.000 Bücher
über 340 Zeitschriften

aus folgenden Fachgebieten:

Bauwesen + Immobilien
Business IT + Informatik
Finance + Banking
Management + Führung
Marketing + Vertrieb
Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

inform now

previous chapter European Co-productions and Greek Cinema since the Crisis: “Extroversion” as Survival

next chapter ‘Official Co-production in the EU: The Role of Eurimages’—an interview with Roberto Olla

By default, films co-produced under this framework must be deemed “European”, a condition calculated through a system of points measuring the “European elements” according to artistic and technical criteria. Nevertheless, a work that does not reach the required number of points (15 out of 19) can still be admitted to the regime of official European co-production on a discretionary basis if it is able to demonstrate “European identity”, even if the aesthetic, ideological and thematic qualities that constitute European identity are not specified.

After the closing of the ECO Fund in 1997, projects from Central and Eastern Europe also fell within the scope of the FSC. This fund was set up in 1989 to support co-production with this region.

My translation. Unless otherwise indicated, all translations are mine.

ACM Distribution was initially intended for films that were supported by the Aide aux cinemas du monde at production stage, but from December 2017 it is open to all co-productions between a European and a non-European country. In the first two years of its existence, the main category of beneficiaries has been French sales agents.

These observations were carried out in the context of the Scholar-in-Residence Programme jointly coordinated by the Festival des 3 Continents, the University of Nantes, and the Co-production Research Network.

Two projects presented at PAS in 2011 have been granted financial support from ACM: Above The Clouds (Pepe Diokno, Philippines/France, 2014) and a project from Thailand, in production by the time this article is written, Kraben Rahu (Diable de Mer), by Phuttiphong Aroonpheng. Both have been co-produced in France by Les films de l’étranger, the company of Philippe Avril, who has been an instructor at PAS.

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.

Centre national du cinéma et de l’image animée. 2013. Premier bilan de l’Aide aux cinémas du monde. Paris, May 23, 2013.

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.

———. 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.CrossRef

Elsaesser, Thomas. 2005. European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.

———. 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.

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.

Finney, Angus. 2010. The International Film Business: A Market Guide Beyond Hollywood. London and New York: Routledge.CrossRef

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.

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.

Haroun, Mahamat-Saleh. 2012. Madame la ministre, ne laissez pas tomber le cinéma du Sud. Libération, June 5.

Higbee, Will, and Song Hwee Lim. 2010. Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies. Transnational Cinemas 1 (1): 7–21.CrossRef

Jalladeau, Alain, and Philippe. 2008. L’histoire du festival. Accessed October 24, 2016. http://www.3continents.com/fr/les-3-continents/le-projet/.

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.

Lecerf, Pierre-Emmanuel. 2016. Soutenir la vraie Co-production, Le Film Français, Supplément au n° 3691, April 22.

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.

Mainguet, Guillaume. 2017. Interview by Ana Vinuela. Nantes, November 26, 2017.

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.

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.

Newman, Kathleen. 2010. Notes on Transnational Film Theory. In World Cinemas, Transnational Perspectives, ed. Natasa Durovicova and Kathleen Newman. New York: Routledge.

Ostrowska, Dorota. 2010. International Film Festivals as Producers of World Cinema. International Film Studies Journal 10: 145–150.

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.

Rigg, Jonathan. 2007. An Everyday Geography of the Global South. New York: Routledge.CrossRef

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.CrossRef

Stone, Robert, et al. 2018. The Routledge Companion to World Cinema. New York: Routledge.

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.

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.

Title: Exporting the French Co-production Model: Aide aux cinémas du monde and Produire au Sud
Author: Ana Vinuela
Publisher: Springer International Publishing
Book: European Film and Television Co-production
Print ISBN: 978-3-319-97156-8

Electronic ISBN: 978-3-319-97157-5

Copyright Year: 2018
DOI: https://doi.org/10.1007/978-3-319-97157-5_13