Evan Puschak, the video essayÂist betÂter known as the NerdÂwriter, has seen a lot of movies. Here on Open CulÂture, we’ve preÂviÂousÂly feaÂtured his analyÂses of a range of picÂtures includÂing Blade RunÂner, ReserÂvoir Dogs, ParÂaÂsite, La Dolce Vita, NosÂtalÂghia, and You’ve Got Mail. When he notices someÂthing speÂcial about the films comÂing out of one counÂtry in parÂticÂuÂlar, we’d do well to lisÂten to him address why. He once devotÂed a video essay to Jean-Luc GodardÂ’s BreathÂless, which he frames as havÂing set off the nouÂvelle vague, the first moveÂment most of us think of when we think of French cinÂeÂma — which many of us around the world regard as occuÂpyÂing une classe Ă part. Puschak finds one reaÂson we do so in his new video essay above.
That reaÂson is the CenÂtre nationÂal du cinĂ©Âma et de l’image, or CNC, the govÂernÂmenÂtal agency tasked with proÂmotÂing not just French film but French audioÂviÂsuÂal arts in genÂerÂal. “For decades, it sat at the cenÂter of cinÂeÂma in France, affectÂing every layÂer of the indusÂtry there,” says Puschak. FundÂed by taxÂes on cinÂeÂma admisÂsions, teleÂviÂsion providers, and media both physÂiÂcal and streamÂing, it redisÂtribÂutes monÂey to the proÂducÂtion, disÂtriÂbÂuÂtion, and exhiÂbiÂtion of films, teleÂviÂsion shows, video games, and othÂer forms of art (as well as to the preserÂvaÂtion of existÂing art). As far as movies in parÂticÂuÂlar, the declared idea is to “supÂport an indeÂpenÂdent cinÂeÂma that is bold in terms of marÂket stanÂdards and that canÂnot find its finanÂcial balÂance withÂout pubÂlic assisÂtance.”
“In the US film indusÂtry, there’s only one metÂric to judge movies: comÂmerÂcial sucÂcess,” Puschak says. “WithÂout parÂticÂiÂpaÂtion by the state, there can be no othÂer metÂric. The marÂket deterÂmines everyÂthing,” and that holds as true for indie films as it does for broad HolÂlyÂwood specÂtaÂcles. The CNC also invests heavÂiÂly in “the mainÂteÂnance and renÂoÂvaÂtion of theÂaters, espeÂcialÂly those that show art-house films,” all across France, and even in cinÂeÂma eduÂcaÂtion for schoolÂchildÂren meant to encourÂage an appreÂciÂaÂtion for “all kinds of movies, not just those that giant corÂpoÂraÂtions have milÂlions of dolÂlars to proÂmote.” This in conÂtrast to the many AmerÂiÂcans “conÂdiÂtioned from an earÂly age to see only cerÂtain kinds of movies in the theÂater.”
Of course, how well a CNC-style agency would work in AmerÂiÂca, a world apart from the dirigiste culÂture of France, is a matÂter of debate. So, in fact, is the quesÂtion of how well it works in France. It has “all the probÂlems you’d expect from a large bureauÂcraÂcy: slugÂgishÂness, red tape, waste, conÂtroÂverÂsies over who gets to choose what films get monÂey.” But the CNC has evolved in fits and starts with changes in techÂnolÂoÂgy and culÂture, and the US has lateÂly directÂed no small amount of finanÂcial supÂport to film proÂducÂtion in the form of state-levÂel tax credÂits. As anyÂone who visÂits the cinÂeÂmas of Paris will notice, France has a “pubÂlic of devotÂed filmÂgoÂers, peoÂple who want to go out to the movie theÂater and have a wide range of expeÂriÂences there.” Cinephiles the world over would sureÂly agree that any monÂey spent to culÂtiÂvate that is monÂey well spent.
RelatÂed conÂtent:
How Anna KariÂna (RIP) Became the MesÂmerÂizÂing Face of the French New Wave
An IntroÂducÂtion to Jean-Luc Godard’s InnoÂvÂaÂtive FilmÂmakÂing Through Five Video Essays
RIP Jean-Paul BelÂmonÂdo: The Actor Who Went from the French New Wave to Action SuperÂstarÂdom
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
Evan,
ComÂparÂing French vs. AmerÂiÂcan films’ sources of fundÂing is misÂguidÂed because you focused on direct govÂernÂment sources (NEA vs. CNC). The uniÂverse is far largÂer.
You fail to recÂogÂnize the likes of not-for profÂit film supÂportÂers and proÂducÂers PBS, SunÂdance, MasÂterÂpiece TheÂater, NOVA, and othÂer PBS proÂducÂtions as well as the thouÂsands of non-profÂit orgaÂniÂzaÂtions, founÂdaÂtions, film instiÂtutes, museÂums, culÂturÂal instiÂtuÂtions, and indiÂvidÂual philÂanÂthropists which annuÂalÂly proÂvide filmÂmakÂers bilÂlions of dolÂlars in grants.
AddiÂtionÂalÂly, the not-for-profÂit nature of the above orgaÂniÂzaÂtions means that they are, in effect, “govÂernÂment-supÂportÂed or manÂdatÂed” and paid with taxÂpayÂer dolÂlars.