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FRENCH CINEMA

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Olivia Sanchez

on 10 April 2014

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Transcript of FRENCH CINEMA

FRENCH CINEMA
BEST FRENCH FILM:
NOMINEES
Les Intouchables

Bienvenue Chez les Ch'tis

Asterix et Obelix: Mission Cléopatre

Entre les Murs
BEST FRENCH ACTRESS:
NOMINEES
BEST FRENCH FILM MAKER:
NOMINEES
Jean-Luc Godard: Vivre Sa Vie

Jean-Pierre Jeunet: Le Fabuleux Déstin d'Amelie Poulin

Luc Besson: Léon: The Professional

Emmanuelle Bercot: On My Way
III: HOW FRENCH FILMS ARE FINANCED
The CNC
The cinema support fund: le compte du soutien
Eligibility for CNC funding
Automatic and selective funding mechanisms
Funding from national and regional authorities
The SOFICAs
The Crédit d'Impôt
The IFCIC
The role of French television
European funding

IV. THE IMPORTANCE OF 'THE ARTIST'
IV. CURRENT INDUSTRY WORRIES
- Unemployment fund for movie industry workers operates with a huge deficit.

- Moviemakers fear that pay television companies will cut back on commissioning French productions as they deal with the threat of online video
Why is the French movie industry number 1 in Europe?
I: HISTORY OF FRENCH CINEMA

II: FRENCH MOVIE AWARDS CEREMONY
BEST FILM MAKER
BEST FILM
BEST ACTRESS
BEST ACTOR

III: HOW FRENCH FILMS ARE FINANCED

IV: THE IMPORTANCE OF 'THE ARTIST' & CURRENT INDUSTRY WORRIES

V: WHY IS THE FRENCH MOVIE INDUSTRY #1 IN EUROPE?





Simon GAMPL
Fernando SAMANIEGO
Olivia SANCHEZ
Shirley VALDES-SAZO VIIRES

I. HISTORY OF FRENCH CINEMA
LUC BESSON
BEST FILM MAKER:
AWARD WINNER
ENTRE LES MURS
BEST FILM:
AWARD WINNER
AUDREY TAUTOU
BEST FRENCH ACTRESS:
AWARD WINNER
BEST FRENCH ACTOR:
NOMINEES
OMAR SY
BEST FRENCH ACTOR:
AWARD WINNER
Centre National de la Cinématographie: CNC
Created by the act: October 25th 1946

Has for mission to administrate economic support not only for cinema, but for the audiovisual and multimedia segments in France more broadly

Is also supports the promotion and distribution of cinematic and audiovisual works, as well as the protection of authorial rights, intellectual property and cinematographic heritage in France


Compte du Soutien Financier de l’Etat a l’Industrie Cinématographique
Created in 1959 and is the major source of subsidies to the film industry in France.

The fund is divided into:

Cinema and video: Net income of 240 000 000 Euros

Audiovisual: 209 000 000 Euros

Automatic and Selective Funding Mechanisms
Only films accredited by the CNC may have access to the Compte du Soutien and all the various subsidies that it offers

Two criterias:

Based on the film itself and on the production companies involved film satisfying the criteria of French nationality

A film must obtain a minimum of 14 points to qualify as a 'European film', 25 points to get accredited by the CNC, 50 points half the maximum sum of aid, while 80 points is the maximum financial benefit

Selective Funding Mechanisms
Funding to which applicants have automatic access, as long as they have fulfilled the required criteria (CNC accreditation)

Automatic funding: Production, distribution and exhibition

On average, the producer receives 70 cents for every ticket sold

Broadcasting of the film on television and its release on video also generate a return for the producer

Condition: re-investment in a subsequent film accredited by the CNC.


Promote the quality of national cinematic production and improve distribution conditions.

As opposed to automatic funding mechanisms, which respond to economic objectives, the objectives of selective funding are cultural and artistic

Selective funding from the compte du soutien of the CNC exists for film production, distribution and exhibition.

Contribution financière
Aide au programme
Prix de qualité
Aide audiovisuelle


Created in 1985, designed to encourage private investment in the industry by offering investors generous tax benefits

Investors must retain their shares in the SOFICA for a minimum of 5 years

Investors: UGC, Canal Plus or Polygram

Some examples of SOFICAs are: Sogécinéma, Banque Populaire Images, Cofimage and  Soficinéma

SOFICAs are obliged to reserve at least 35% of their capital for investment in independent productions

Credit D’Impot
It allows production houses established in France to obtain credits against the tax that is normally imposed on such organizations,

This arrangement is designed to encourage these companies to carry out production works on CNC approved films in France (rather than abroad)




Institute for the Financing of Cinema and the Cultural Industries: IFCIC
Created in 1983 and accredited by the Bank of France

It is an independent and neutral organization whose aim is to help finance the industry by guaranteeing the credits granted to professionals in the cinema sector

It operates mainly at the production level by guaranteeing production credits usually to the extent of around 55% of their total amount

The Role of French Television
France is one of only two countries in Europe (the other being Portugal) that imposes a tax on the income of television companies

This tax is so lucrative that over half of the CNC's funds come from the television industry

All television channels broadcasting more than 52 feature-length films per year are required to give 3.2% of their annual net income to European cinematographic production


European Funding: European Union’s
MEDIA Programme
Goal: to preserve and enhance Europe's cultural diversity, as well as it's cinematographic and audiovisual  heritage

The funds come from the EU's Community budget. MEDIA is open to European professionals and audiovisual societies established in the EU.

Council of Europe's Eurimages programme: fund aimed at supporting the co-production, distribution and exhibition of European cinematographic works.

Eurimages has supported 1037 European co-productions for a total amount of around 300 million Euro.


Sociétés pour le financement des industries cinématographiques et audiovisuelles: SOFICA
Audrey Tautou: 'Le Fabuleux Déstin d'Amelie Poulin'

Brigitte Bardot: 'Viva Maria', 'Vie privée'

Marion Cotillard: 'La Vie en Rose'

Eva Green: 'Casino Royale'
Gérard Depardieu: 'Astérix et Obelix'

Jean Reno: 'Da Vinci Code'

Omar Sy: 'Les Intouchables'

Vincent Cassel: 'Ocean's Twelve'
Plot:
Drama that is set entirely in a french middle school in a rough neighborhood
Describes everyday school life and its challenges for the teacherFrancois Marin

Based on a novel by Francois Bégaudeau (main actor and teacher in real life)

Reasons for its success:
Very close to the reality
Typical french 'topic of discussion'

'Palme d'Or' at the Cannes film festival in 2008

ENTRE LES MURS
AUDREY TAUTOU
9th of August in Beaumont

Important roles:

Vénus Beauté (1999)
Le Fabuleux Déstin d'Amelie Poulin
Coco avant Chanel (2009)

Models for companies such as Chanel and L'Oreal

Reasons for success:

Embodies the classy, elegant French woman
Remains natural and authentic at the same time


OMAR SY
*20th of january 1978 in Yvelines

Coming from a very poor background

1996: forms comedy duo with Fred Testot

2011: Main role in „Les Intouchables“ (=> winning the César for ’Best Actor’)

Reasons for his success:
Overall charismatic and friendly person
Can make people laugh no matter what

- Impression in the Hollywood environment, during the evening of the Academy Awards.

- Market share of 41 percent of the box office

- Hollande and Sarkozy, used this to encourage French Filmmaking industry and to prove its relevance in French culture.

- Counter the growing online piracy.
LUC BESSON
- 5 Oscars, another 117 award wins & 89 nominations.

- First time any French film has ever received an Academy Award.

- Filmmaking should be protected from the ravages of a market economy, through financial support and other means.

French film director, writer, and producer: more than 50 films, spanning 26 years

He has made many thrillers and action films that are visually rich

Nominated for Best Director & Best Picture César Awards for his films
Léon: The Professional
The Messenger: The Story of Joan of Arc

Won Best Director & Best French Director for his film The Fifth Element (1997)

Taken 2 (2012) is France's biggest export success

Seen as a pivotal figure in the 'Cinéma du look' movement, a specific, highly visual style produced from the 1980s into the early 1990s
Subway (1985)
The Big Blue (1988)
Nikita (1990)

A Multi-Cultural Viewpoint
'France can, with some justification, claim to have invented the whole concept of cinema"

For more than a century, France has been a major influence on cinema and continues to be one of the most important producers of film

Around 200 full-length films are made in France each year

Key figures in the industry:

Lumière brothers: invented the Cinématographe in 1895
Georges Méliès: the best-known early pioneer whose 1902 short A Trip to the Moon is
generally heralded as the first science-fiction film, and a landmark in cinematic special effects
Alice Guy: originally a secretary but proved to be an extremely talented filmmaker, first female filmmaker
Jean Renoir, René Clair and Julien Duvivier thrived on the technical challenges of the
introduction of sound cinema in the early 1920s
1946: the first Festival de Cannes, which has become one of the world's leading film festivals
Jean-Luc Godard is a French-Swiss film director, screenwriter and film critic. He is often
identified with the 1960s French film movement La Nouvelle Vague or New Wave
1980s: Cinema du look - Luc Besson
2000s: The Artist, Les Intouchables, Des Hommes et Des Dieux...


THE SUP DE CO FRENCH FILM AWARDS
Est. 2014
Full transcript