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A better half to modern French Cinema offers a complete selection of unique essays addressing all elements of French cinema from 1990 to the current day.
• beneficial properties unique contributions from best movie students in relation to all elements of up to date French cinema
• comprises new study on concerns on the subject of the political financial system of latest French cinema, advancements in cinema coverage, viewers attendance, and the categories, construction, and preservation of theaters
• makes use of groundbreaking learn on cinema past the fiction movie and the cinema-theater resembling documentary, beginner, and electronic filmmaking
• includes an surprisingly huge variety of methodological ways and views, together with these of style, gender, auteur, undefined, monetary, famous person, postcolonial and psychoanalytic studies
• comprises essays by way of very important French cinema students from France, the united states, and New Zealand, a lot of whose paintings is the following awarded in English for the 1st time

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3 in 2012. 2 Cinema attendance in France, 1990–2012. Statistics from the CNC. 3 Indices of attendance for several industrial countries, 1980–2012. Statistics from the CNC. 9% of the entries. Increasingly, this ­latter group is having a major impact on fluctuations in attendance, given that, in the case of a number of films that achieve very large successes, it is their attendance that contributes greatly to the success of the film. 3% of entries). 10 The growing interest of this age group (of those 50 years and older) in cinematic spectacle viewed in theaters is an asset on which exploitation can rely, especially given changing socio-demographic patterns in Europe.

Nevertheless, between 1992 and 2012, despite the proliferation of screens of various types, in France the number of entries into cinema theaters showed a strong rise. Television and video have certainly benefited from a growing audience, but not at the expense of devaluing or marginalizing the collective experience that is involved in watching a cinematic spectacle in a theater. This rebound of attendance has not, however, benefited all types of theater equally. Likewise, in the different countries of Europe, the situations are very different: during the same period, the Italian market collapsed, the German market stagnated, and the Spanish market underwent a new phase of decline, after a short period of recovery.

4 The number of films receiving general release in France, 1990–2012. Statistics from the CNC. 2% of films of French initiative). In total, first and second films represent more than half of the production of films of French initiative (54% in 2012): a good level if one considers the potential for renewal that this figure suggests, but one that gives cause for concern when one thinks of the small numbers of filmmakers who get beyond this stage. In terms of prospects, cinematic production has benefited during the course of the past few decades from a strong expansion of its markets and sources of finance, due mainly to television, and secondarily to video and the new media, which explains the structural ambivalence of its relation to the polarities that have recently become entrenched in the media landscape.

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