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This chapter examines the historical development of France’s distinctive public film policy, initiated after the Liberation with the founding of the National Centre for Cinematography (CNC) in 1946. Central to this system was a tax-based fund supporting national production and coordinating sectoral actors, later reinforced by the Ministry of Culture’s proactive cultural agenda from 1959 onward. The 1960 introduction of the advance on receipts—a public loan for quality film production—became its cornerstone, with support expanding over time to scriptwriting, arthouse exhibition, and heritage distribution. Concurrently, France and Italy signed Europe’s first intergovernmental co-production agreement (1946), formalised in 1949 and periodically renewed, fostering a bi-national cinema of over 2,000 films. This model, shaped by public, industrial, and artistic collaboration, influenced broader European frameworks. The chapter traces this evolution through archival sources, CNC data, and the text of the official Franco-Italian co-production agreements, offering a comprehensive analysis of state–cinema relations in postwar France and their transnational dimensions.

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French Cinema Cultural Policy Since the 1940s: A National and Transnational Issue

  • 章节

  • 发表日期：

    2025年

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  • Paola Palma,
  • Dimitri Vezyroglou

摘要

This chapter examines the historical development of France’s distinctive public film policy, initiated after the Liberation with the founding of the National Centre for Cinematography (CNC) in 1946. Central to this system was a tax-based fund supporting national production and coordinating sectoral actors, later reinforced by the Ministry of Culture’s proactive cultural agenda from 1959 onward. The 1960 introduction of the advance on receipts—a public loan for quality film production—became its cornerstone, with support expanding over time to scriptwriting, arthouse exhibition, and heritage distribution. Concurrently, France and Italy signed Europe’s first intergovernmental co-production agreement (1946), formalised in 1949 and periodically renewed, fostering a bi-national cinema of over 2,000 films. This model, shaped by public, industrial, and artistic collaboration, influenced broader European frameworks. The chapter traces this evolution through archival sources, CNC data, and the text of the official Franco-Italian co-production agreements, offering a comprehensive analysis of state–cinema relations in postwar France and their transnational dimensions.