{"title":"Global and local rhetorics at a public-facing private company: Studiocanal and French cinema","authors":"C. Meir","doi":"10.3828/cfc.2021.19","DOIUrl":"https://doi.org/10.3828/cfc.2021.19","url":null,"abstract":"\u0000This article utilizes Canal+’s film production and distribution subsidiary Studiocanal as a way to understand both companies’ impacts on French cinema since the formation of the subsidiary in the early 1990s. As such, the article is structured as a chronology and an analysis of the major films made in French and financed by Studiocanal in terms of their critical and popular reception. The article also examines the talent relationships underpinning this production and the trajectories of the various stars, writers, directors, and producers who worked on the films as well as the executives who oversaw them. Finally, the article analyzes the corporate rhetoric that was advanced by both Studiocanal and Canal+ over the years to position itself in the French and international markets. Synthesizing these branches of the analysis and noting certain cyclical patterns, the article argues that Studiocanal’s relationship to French cinema has been complex and changeable, at times limited in favor of pursuing the international market, at times devoting ample amounts of rhetoric and resources to pursuing success in its home market. Moreover, the article demonstrates that the company’s production activities have helped to mold a generation of French filmmakers and industry executives who have in turn gone on to influential careers. Looking forward, the article concludes by arguing that by virtue of its size and scale as a producer and distributor, Studiocanal will always be a significant player in French cinema.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132950290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Canal+ and contemporary French cinema and television","authors":"C. Meir, R. Kuhn","doi":"10.3828/cfc.2021.16","DOIUrl":"https://doi.org/10.3828/cfc.2021.16","url":null,"abstract":"","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125148563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Channeling globalism: Canal+ as transnational French genre film producer","authors":"Mary Harrod","doi":"10.3828/cfc.2021.18","DOIUrl":"https://doi.org/10.3828/cfc.2021.18","url":null,"abstract":"\u0000This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences in an ever more multidirectional, multiplatform, cross-hybridizing mediasphere. This article considers the case study films Alibi.com (2017) and Grave (2016) to illustrate the fact that, like the European audiovisual mainstream as a whole, French genre films are bound up in an increasingly transnational and complex intertextual web - a state of affairs promoted by multinational conglomerates such as Canal+. It nonetheless suggests that such French iterations of US-originated genres appropriate and transform rather than merely citing, echoing, or emulating existing models. What is more, drawing on theorizations of aesthetics and affect suggests that these processes can foster new identities.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126978458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Translating “l’esprit Canal” into comedy screenplays: Canal+’s role in the development of French comedy film trends","authors":"Isabelle Vanderschelden","doi":"10.3828/cfc.2021.20","DOIUrl":"https://doi.org/10.3828/cfc.2021.20","url":null,"abstract":"\u0000This article retraces the trajectories of three selected groups of comedy actors, screenwriters, and directors discovered on Canal+ in the context of the evolution of the media group’s policies for comedy development practices for cinema. The article focuses on artists and television shows that served as platforms for entry into the cinema, including “Les Nuls,” “Les Robin des Bois,” Jamel Debbouze and Philippe Lacheau’s “La Bande à Fifi.”","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124547474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Le label “Création Originale” de Canal+: une stratégie de marque au service d’un renouvellement de la fiction sérielle française","authors":"H. Boudon, J. David, Virginie Sonet","doi":"10.3828/cfc.2021.21","DOIUrl":"https://doi.org/10.3828/cfc.2021.21","url":null,"abstract":"\u0000À l’aube des années 2000, la chaîne payante Canal+ diversifie sa gamme de programmes en lançant plusieurs séries dramatiques ambitieuses, exigeantes et réalistes. Celles-ci portent le label de “Création Originale.” Cette stratégie de labellisation participe à une différenciation de l’offre des chaînes gratuites françaises. Elle consiste aussi à transposer la stratégie déployée à la fin de la décennie précédente par le diffuseur premium nord-américain, HBO. Partant d’entretiens sociologiques réalisés avec des producteurs, scénaristes, et chargés de programmes de séries de Canal+, cet article met en évidence deux corollaires de cette politique éditoriale: une modification des méthodes de travail en matière de fictions télévisées, ainsi qu’une recomposition des sphères professionnelles de la télévision française.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116150897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Canal+: from innovative newcomer to beleaguered brand","authors":"R. Kuhn","doi":"10.3828/cfc.2021.17","DOIUrl":"https://doi.org/10.3828/cfc.2021.17","url":null,"abstract":"\u0000This article examines the advent, embedding, and problematic contemporary situation of Canal+ within the context of the French television landscape as a whole. The first section is devoted to the arrival of the new pay-tv channel in 1984 and its growth to maturity to become an integral part of the French television system. The second section concentrates on the challenges facing Canal+ in recent years and the company’s strategic response in an era of unparalleled expansion in the supply of both television and video content as well as radical changes in media usage by French audiences.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"43 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123606405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}