發(fā)布時(shí)間：2018-02-09 02:50

  本文關(guān)鍵詞： 法國(guó) 電影資助政策 文化測(cè)試 成績(jī) 局限　出處：《西南大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：縱觀全球電影市場(chǎng),美國(guó)好萊塢電影的霸主地位一經(jīng)確立就從未被動(dòng)搖,并且一直對(duì)各國(guó)電影工業(yè)的生存造成威脅。國(guó)家的介入在此背景下就顯得尤為重要。就法國(guó)而言,政府以維護(hù)“文化多樣性”為目標(biāo),以強(qiáng)硬的態(tài)度、堅(jiān)定的立場(chǎng)保護(hù)著本國(guó)電影的發(fā)展。一整套特有的資助模式、相關(guān)機(jī)構(gòu)以及干預(yù)手段被運(yùn)用于電影發(fā)展的所有產(chǎn)業(yè)鏈階段,從而創(chuàng)建了比大部分歐洲鄰國(guó)相對(duì)優(yōu)越的電影發(fā)展環(huán)境,使法國(guó)成為歐洲為數(shù)不多的本土電影占比逐年提高的國(guó)家,維持了法國(guó)本土電影的生產(chǎn)和發(fā)展。法國(guó)電影打破資本控制電影的桎梏,風(fēng)格迥異的商業(yè)類(lèi)型片和文化藝術(shù)片共同支撐著法國(guó)電影產(chǎn)業(yè)的發(fā)展,形成市場(chǎng)與藝術(shù)雙管齊下的產(chǎn)業(yè)路線,得到世界電影觀眾的認(rèn)可,政府的資助政策功不可沒(méi)。并且,法國(guó)政府對(duì)于藝術(shù)電影的大力扶持,使法國(guó)電影堅(jiān)守民族文化品格,一定程度上緩解了各國(guó)民族電影面對(duì)好萊塢的文化霸權(quán)所產(chǎn)生的文化焦慮,為世界電影文化的多樣性做出巨大貢獻(xiàn)。法國(guó)電影資助政策自1948年實(shí)施以來(lái),歷經(jīng)幾十年的完善,已日漸成熟。然而,資助政策在得到許多國(guó)家與地區(qū)的肯定與效仿的同時(shí),也同樣存在其局限性。日漸拔高的電影制作預(yù)算、納稅人的資金壓力以及電影創(chuàng)作人才流失的挑戰(zhàn)等都成為電影資助政策備受責(zé)難的原因。資助政策實(shí)施所產(chǎn)生的巨大影響,以及本身存在的現(xiàn)實(shí)爭(zhēng)議,都使其具有重要的研究意義。論文試圖通過(guò)梳理法國(guó)電影資助政策的發(fā)展脈絡(luò)、厘清資助體系的呈現(xiàn)模式以及政策施行后取得的成績(jī)與局限,探討電影資助政策的具體狀況。
[Abstract]:Throughout the global film market, the supremacy of Hollywood films in the United States has never been shaken once it has been established, and has always posed a threat to the survival of the national film industry. The involvement of the state is particularly important in this context. As far as France is concerned, The government aims to maintain "cultural diversity", with a strong attitude and a firm stand to protect the development of domestic films. A set of unique funding models, relevant institutions and interventions are used in all stages of the industry chain of film development. Thus creating a relatively superior film development environment than most of Europe's neighboring countries, making France one of the few countries in Europe in which the proportion of local films has increased year by year. The French film broke the shackles of the capital control film, and the development of the French film industry was supported by commercial films and cultural and artistic films of different styles. The formation of a two-pronged industrial line between the market and the arts was recognized by the world film audience and contributed to the government's subsidy policy. Moreover, the French government's strong support for art films made French films stick to their national cultural character. To some extent, it alleviates the cultural anxiety caused by the cultural hegemony of Hollywood in the national films of various countries, and makes a great contribution to the diversity of film culture in the world. Since the implementation of the French Film financing Policy in 1948, it has gone through decades of perfection. However, while many countries and regions have affirmed and emulated the funding policy, it also has its limitations. The financial pressure of taxpayers and the challenge of brain drain in film creation have all become the reasons for the criticism of the film funding policy. The huge impact of the implementation of the funding policy and the actual controversy existing in itself. This paper tries to sort out the development of the French film financing policy, clarify the present mode of the funding system and the achievements and limitations after the implementation of the policy, and discuss the specific situation of the film funding policy.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J943

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