French and Italian Films Essay

The EU guiding has put forth the greatest effort to fend off what it has termed American cultural imperialism.. 14 France is the strongest implementor of this directive that it currently requires utmost 40% of considers shget in in the country are of non-European origin. The country is also lobbying for other cub member states to enact the same quota rules.Even the ex-president Chirac had made his opinion regarding this quota corpse stating that he does not want to see European purification obliterized by American Culture 15 and it is believed that the entertainment media are not very(prenominal) advantageous in terms of integration but an instrument morose 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 a slanderous attack to French Honor. 16For Italian films, even during the fascistic governance, the film was not utilized as a propaganda device. This is ac cording to Ricci stating that the regime even unified Italy through the elimination of markers of class and regional end happening in the country during that time through the circulation of terms for an ideational national identity. 17 Italian film is viewed as an constitutional part18 of the countrys politics. Actually, the censorship board was established, to a greater extent 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 mankind but even prior this scandal, government corruption were already visualized in films such as the 1989 Il Portaborse (The Footman) of Luchetti. Moreover, this was also the period when the veer in production have focused on historical fictions 19 with emphasis on Italys history and even depicting the own history of cinema implying that television does not have good clashing on the film persistence suc h as the movie house Paradiso.Currently, Italian government provide fundings for films they supercharge 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 allestero) and for film dessai (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 entirely in Italy but all over the region 21It is unequivocal what the European countries want when it comes to film release and procession 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 merchandise and in profits. IV. Conclusion Films are important weapons for those who may have tally as to its regulation and relea se to public. Films may be used to levy 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 snub and interest or demand of the viewing public (especially for commercial films) and more than 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 intumesce as control the release and approval of the films shown in an knowledge base 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 associate 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 d amaging for Europeans as well as penetrating the industrys 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 conflicting 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 chip 332, 1996, American Education, retrieved 31 May 2008, .