rooms is misjudged
The current assessment of the work of cinema it would be indexed, so underlying
on notions of profitability and results
? The question is ... at least at the level of grant aid support selective account by the CNC. Indeed, we raise the paradoxical consequences of the classification arthouse which triggers the system of aid. This came mainly from an automatic indication that corresponds to the proportion of sessions provided to all recommended films programmed, without distinction between articles and films without taking into account the results of traffic carried on these sessions. Thus, an arthouse film
fragile programmed over many sessions, will help close a room - even if it has attracted very few spectators and no work accompanying n ' was conducted. Paradoxically, this same film, scheduled one session with a real job and support a public success, will be less well reflected by the ranking. Paradoxically always, the programming of a film art house holder who contributes most the classification of the room since it has benefitted many sessions.
Sunday, May 17, 2009
How To Do Your Hair Like Dahvies
Now, just distribute films recommended, not to cultural action. Aid for arthouse are designed to reward the dissemination of cultural works, not to reward a work of cultural action. "The cultural remains at the margin of CNC questionnaires, assessment leading to a uniform downward in the treatment of the classification of cinema. It is urgent to remember that not all the rooms, specifically classified do not do the same work. Some screenings in barns, cafes, caravans, etc.. have more success in cinemas. The nature of work should be seen in its local context. More generally, the treatment blind was found at all levels: CNC, State, Regions and Departments - Municipalities in turn, closer to the rooms, often the distinction.
In addition, payment of grants to a movie theater by local governments may, through the study of his case by the National Commission of selective aid arthouse cinema, playing against him.
The reasoning is the following: the classification committee arthouse does not consider it necessary to acknowledge the work at the art house run by a room if it is already funded under land use or dissemination and cultural activities. "There are
address such violence against the use of local money that we receive, without one ever thinks that we do not use this money to do what others do, but to do something else. Now, national targets for "cultural activities" are often different territorial objectives.
Moreover, if cultural action around the recommended films is poorly taken into account, is that the vast field formed by the
non-commercial sector, it is not at all reflected in the records Help selective. This "real testing ground
" has yet been highlighted in the report of Michel Berthod s
ur exploitation film called noncommercial early 2006. The equation is simple: revenue works broadcast as part of the non-commercial are not subject to the TSA. And the corollary argument: no lift in revenue, so no support. Therefore, the advocates of more-of recommended films, we could answer: yes, provided you do not open up the list of research and discovery films, considered too elitist (which is a false debate), but to include films ignored by the CNC films without visas or who have lost it. In the same vein, the procedure for applying for temporary visas, useful in the context of festivals, deserves to be discussed. We talked highest of equal treatment, it is still necessary treatment there, period! We do not emphasize enough how the cinema is a victim of non-recognition of its legitimacy to intervene in cultural action.
Let us: this is its legitimacy in terms of public policies on culture. Because it is an economic agent on a commercial market, compared to other places the movie theater is discriminated by the government.
But beyond the question of the room is the cinema itself, because it is an art "Bastard", more popular and more mainstream than others, pulling behind him a whole industry that does not enjoy the same prestige as other arts in cultural policies.
In addition, payment of grants to a movie theater by local governments may, through the study of his case by the National Commission of selective aid arthouse cinema, playing against him.
The reasoning is the following: the classification committee arthouse does not consider it necessary to acknowledge the work at the art house run by a room if it is already funded under land use or dissemination and cultural activities. "There are
address such violence against the use of local money that we receive, without one ever thinks that we do not use this money to do what others do, but to do something else. Now, national targets for "cultural activities" are often different territorial objectives.
Moreover, if cultural action around the recommended films is poorly taken into account, is that the vast field formed by the
non-commercial sector, it is not at all reflected in the records Help selective. This "real testing ground
" has yet been highlighted in the report of Michel Berthod s
ur exploitation film called noncommercial early 2006. The equation is simple: revenue works broadcast as part of the non-commercial are not subject to the TSA. And the corollary argument: no lift in revenue, so no support. Therefore, the advocates of more-of recommended films, we could answer: yes, provided you do not open up the list of research and discovery films, considered too elitist (which is a false debate), but to include films ignored by the CNC films without visas or who have lost it. In the same vein, the procedure for applying for temporary visas, useful in the context of festivals, deserves to be discussed. We talked highest of equal treatment, it is still necessary treatment there, period! We do not emphasize enough how the cinema is a victim of non-recognition of its legitimacy to intervene in cultural action.
Let us: this is its legitimacy in terms of public policies on culture. Because it is an economic agent on a commercial market, compared to other places the movie theater is discriminated by the government.
But beyond the question of the room is the cinema itself, because it is an art "Bastard", more popular and more mainstream than others, pulling behind him a whole industry that does not enjoy the same prestige as other arts in cultural policies.
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