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The United States: A relatively closed cinematographic market

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  1. Introduction
  2. Its development over the years
  3. It economic policy
  4. Conclusion

The cultural influence of French cinema in the United States is certainly indisputable. From a strictly economic point of view, it is clear, that the US market remains a relatively closed market which is not very open to foreign films.

In the first step, there will be a study on the extent to which the economic impact of French cinema in the United States is limited. In the second step, the study will see how, while the cultural influence of French cinema in the United States is irrefutable, it must be relativized in view of two elements. The first is the development of remakes, and secondly that the American audiences for French films is very small and unrepresentative of the US population.

The American film industry is composed of three types of actors: the majors, their subsidiaries, and independent producers. Within the United States, the majors are represented by the Motion Picture Association of America (MPAA), and abroad by the Motion Picture Association (MPA). The MPAA represents the seven largest majors, that is to say the producers and distributors of "filmed entertainment" (Filmed Entertainment), including feature films, television programs, tapes and DVDs for sale or rental, Internet movies, etc.

The seven majors are: Buena Vista International (The Walt Disney Company), Columbia TriStar Film Distributors International,Metro-Goldwyn-Mayer (MGM), Paramount Pictures Corporation,Twentieth Century Fox International Corporation, Universal International Films and Warner Bros.. International Theatrical Distribution. As for their subsidiaries,they for example include Miramax, owned by Disney or New Line, owned by Warner.

The number of French films continues to increase creating a potentially larger market for American film distributors. There are actually quite a few distributors of French films and they are not to divide the French production. While the number of movies available keeps increasing, the number of distributors also increases. And in 2005 twenty to twenty five companies have released French films against 17 in 1999.

The first conclusion is that success in terms of market share of a distributor is very uncertain from one year to another. As it is shown, Warner Independent Pictures Inc. who led the rankings in 2005 was relegated to fourth position in 2006. Indeed, the results achieved by companies are usually due to the release of a single film for a year.The results of the U.S. distributors of French films are extremely sensitive for success of a single film. Out of only some forty films, each distributor saw its revenues considerably revised according to each film that comes out.

The second conclusion is that, as one has previously seen, there is anambiguity concerning the definition of the nationality of films. Clearly, the above results were taken into account and the successes related to films rarely100% minority or majority French.

Thus, Columbia Tristar, ranking first distributed Silent Hill a minority French film . Miramax, second in the standings, released The Queen, and Renaissance French a minority film, that was, mostly French. Third, Sony Pictures Classics released Cache and Merry Christmas, two films mainly French film L'Enfant and a French minority. Fourth, the Warner Independent Pictures Inc. released The Science of Sleep, and the mainly French film March of the Penguins movie that is 100% French.

Tags: The American Film industry; French films; French film distribution;economic impact of French cinema; The United States: A relatively closed cinematographic market

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