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The article examines the French motion picture industry between 1995-2007 during the tenure of French President Jacques Chirac. It discusses the cultural role of French cinema as well as government policies designed to manage and regulate the film industry. The author compares the production and economic aspects of French television and film during this period.

The article offers the author's insights on the appreciation by philosopher Jacques Derrida on the French films. Topics mentioned include the social aspects of films, the interview by Derrida with film writer Antoine de Baeque and film director Thierry Jousse, and the writing of Derrida that focuses in several forms of visual arts including photography, drawing, and painting.

The article presents the Chapter 7 of the book series "Studies on Popular Culture," by Intellect Books and the International Institute for Popular Culture (IIPC). Topics discussed include the cinematic representations of balieues which are complex and liminal border areas situated on the edge of French cities, the social condition of immigrants in the French suburbs, and the aspects of French cinematography.

The works of Agnès Varda and Chantal Akerman span two generations of female influence in the sphere of contemporary visual culture in France. Both film-makers have seized upon the richly intermedial potential of film, photography, video and installation, while acknowledging their own status as figures engaging with the marginal politics of auteurist film-making. This article interrogates how the recent installations, 'Les Veuves de Noirmoutier/The Widows of Noirmoutier' (Varda, 2005) and 'Marcher à côté de ses lacets dans un frigidaire vide/To Walk next to One's Shoelaces in an Empty Fridge' (Akerman, 2004), stage an encounter between the cinematic, ethical and spatial practices of each female auteur, the female subjects of their moving-image work, and their viewers. By invoking concepts of gesture from Giorgio Agamben, Maurice Merleau-Ponty and recent writing on dance and film, the article explores the intermedial potential of gesture as a framework for examining processes of meaning-making, spatial experimentation and spectatorial physicality in these recent moving-image installations. [ABSTRACT FROM AUTHOR]

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Eschewing the making of elitist films, French writer/director Céedric Klapisch strives to appeal to a wide population with his largely humorous yet thought-provoking narratives that look compellingly at the relationship between individuals and community. Three of his films that have received U.S. releases-Chacun cherche son chat [When the Cat's Away], L'Auberge espagnole [The Spanish Apartment], and Les Poupées russes [The Russian Dolls]-reflect numerous unresolved issues that have threatened the harmony of French society in the last decade. His films provide a symbolic jramework for exploring current social issues of gentrification and immigration, questions about national identity, and sovereignty concerns that affect union with other European nations. [ABSTRACT FROM AUTHOR]

Explores the implications of the documentaries and newsreels in cinemas for people in France during the Second World War. Consideration of cinematic propaganda as one of the most effective tools for sharing public opinion; Interpretation of key social and political issues; Significance of fiction films during the war.

The article discusses the history of the French New Wave Cinema, a movement that flourished in France during the 1950s and early 1960s, and has exercised a powerful influence on film cultures as diverse as those of German New Cinema, American independent film and African cinema. It explores the New Wave filmmakers who experimented with form and content in an attempt to renew both film production and product at a time when studio system economics and hierarchies dominated French film practice. It also mentions the popularity of New Wave filmmakers such as Chris Marker and Jean Luc Godard for referring to each of their work as well as to writers and other filmmakers.

Focuses on the presence of the colonial wars in French cinema. Historical information on colonial wars between 1944 and 1962; Louis Malle's `Ascenseur pour l'echafaud'; Characters; Excerpts.

This article presents a report on the trends in French films seen since 1950 in New York City and Paris, France. In analyzing the French films, certain themes were found such as the fear of falling back into childhood, the superiority of the strength of women, and the non-internalization of moral restrictions, among others. Observations are made on some countertrends that may present new developments. A discussion is also presented about relations between these fantasy productions and typical life situations.

The article discusses about the Etats Généraux du Cinéma Français. According to the article, the Etats Généraux du Cinéma Français started in May 17, 1968. It was established at a meeting in the rue Vaugirard film school. It was said that the group from the Cahiers du Cinéma had suggested its name. It was described by Centre National du Cinema's Claude Degand as a strange assembly of experienced technicians. Their magazine was published in the end of May called Le Cinéma s'insurge.

The article focuses on the Cinema du Reel film festival in Paris in April 1980 and the Oberhausen Film Festival in Germany. The author comments on the festival as well as the selection of films. The author poses the question on who is qualified on labeling a film as real or not. He also discusses about the vast selection of films which he thinks deserves reserved judgments on its quality and purpose. He believes that the anthropological and sociological films featured in the festival should be judged accordingly. He also comments on the purpose of prizes handed out during these festivals that as a demonstration and reinforcement of the aesthetic and ideological paradigms of the jury.