French and Italian Films Essay

The EU Directive has â€Å"put forth the greatest effort to fend off what it has termed â€Å"American cultural imperialism.. † 14 France is the strongest implementor of this directive that it currently requires utmost 40% of films shown in in the country are of non-European origin. The country is also lobbying for other fellow member states to enact the same quota rules. Even the ex-president Chirac had made his opinion regarding this quota system stating that â€Å"he does not want to see European culture obliterized by American Culture† 15 and it is believed that the entertainment media are not very advantageous in terms of integration but an instrument threatening both national and cultural sovereignty. To prove the French strong views on proper film/cinea values, it has banned Paths of Glory in 1957 claiming that this film was â€Å"a slanderous attack to French Honor. † 16 For Italian films, even during the fascist regime, the film was not utilized as a propaganda device. This is according to Ricci stating that the regime even unified Italy through the elimination of markers of class and regional difference happening in the country during that time through the circulation â€Å"of terms for an imaginary national identity†. 17 Italian film is viewed as an â€Å"integral part†18 of the country’s politics. Actually, the censorship board was established, more to regulate films civic and politically related contents than that of sexually or morally intruging contents. The Tangentopoli scandal in 1992 had delegitimised Italian politicians in the eyes of the public but even prior this scandal, government corruption were already depicted in films such as the 1989 Il Portaborse (The Footman) of Luchetti. Moreover, this was also the period when the trend in production have focused on â€Å"historical fictions† 19 with emphasis on Italy’s history and even depicting the own history of cinema implying that television does not have good impact on the film industry such as the Cinema Paradiso. Currently, Italian government provide fundings for films they promote including various assistance from the Direzione Generale per il Cinema (Directorate General Cinema) giving out funds to deserving producers of films promoting the Italian/European culture outside of Italy (promozione all’estero) and for film d’essai (independent/art films) 20 Aside from these fundings, there is also the European Ivestment Bank (EIB) funding film productions in order to compete with the penetrating Hollywood films, not only in Italy but all over the region 21 It is obvious what the European countries want when it comes to film release and promotion: not so much of Hollywood films, protection of cultural values, protection of viewers, promotion of culture and competing with the American in film production and obviously in the market and in profits. IV. Conclusion Films are important weapons for those who may have control as to its regulation and release to public. Films may be used to promote a certain cause or to discourage certain acts. Moreover, when producing a film, various factors must be put into consideration. Among these factors are the current trend and interest or demand of the viewing public (especially for commercial films) and more importantly, the rules that govern over these films. These rules are, more often than not, imposed by regulatory bodies, either private or by the government to assess and classify, as well as control the release and approval of the films shown in an area or market. In European nations, various strategies are employed to promote the film industry. These involve funding of deserving film production and promotion on European values. One strong factor that makes Europe unite when film issues are being talked about is the influence and the challenge that Hollywood films cause to the European nations and European market. American films are viewed as mostly culturally damaging for Europeans as well as penetrating the industry’s market leaving losses to European film producers. In this regard, European nations have looked for some measures in protecting their culture as well as securing its market through the EU Directive, as well as through national regulations, limiting Hollywood and other foreign films shown in European nations. End Notes 1Ricci, S. Cinema and fascism, Italian Film and Society, 1922-1943, UC Regents,UC Press,2008 retrieved 31 May 2008,< http://www. ucpress. edu/books/pages/10916/10916. ch01. pdf >. 2 Rinaman, K, French Film Quotas and Cultural Protectionism, Case Number 332, 1996, American Education, retrieved 31 May 2008, .