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To What Extent Can France Continue to Defend the Cultural Exception in the Digital Age? an Analysis of Cultural Diversity in the French Film Industry

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To What Extent Can France Continue to Defend the Cultural Exception in the Digital Age? an Analysis of Cultural Diversity in the French Film Industry A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/80230 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications To what extent can France continue to defend the cultural exception in the digital age? An analysis of cultural diversity in the French film industry by Sarah Elizabeth Walkley A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Policy Studies University of Warwick, Centre for Cultural Policy Studies April 2016 Contents 1. Introduction ........................................................................................................................ 12 2. French identity threatened: motivating France to defend cinema support schemes ........ 27 2.1. French reaction to mondialisation: convergence or clash? ........................................ 32 2.2. Globalisation: a threat to French identity ................................................................... 36 2.2.1. Loss of power ...................................................................................................... 37 2.2.2. Republicanism and the social model .................................................................. 39 2.2.3. Mission civilatrice ................................................................................................ 41 2.2.4. Cultural identity .................................................................................................. 43 2.3. Cultural policy and the quest for diversity .................................................................. 45 2.4. France and cinema ...................................................................................................... 49 2.5. Conclusion ................................................................................................................... 53 3. Exploring exception-al circumstances: a mixed methods approach ................................... 54 3.1. Why combine qualitative and quantitative research? ................................................ 55 3.2. How to combine qualitative and quantitative research ............................................. 56 3.2.1. The quantitative aspect ...................................................................................... 60 3.2.2. Document analysis .............................................................................................. 62 3.2.3. The qualitative aspect ......................................................................................... 63 3.3. A framework for integration ....................................................................................... 69 3.4. Is it appropriate to mix qualitative and quantitative research? ................................. 73 3.5. The research question ................................................................................................ 77 3.6. Pitfalls and problems of combining qualitative and quantitative data ...................... 78 3.7. Conclusion ................................................................................................................... 79 4. Supporting cinema: the film protection policies France seeks to defend .......................... 81 4.1. Shifting focus to the small screen ............................................................................... 86 4.2. The evolution of France’s subsidy programme ........................................................... 89 4.3. Soutien automatique ................................................................................................... 93 4.4. Aide sélective............................................................................................................... 97 4.5. The compte de soutien .............................................................................................. 100 4.6. Funding obligations placed on television companies ............................................... 105 4.7. Tax relief and investment incentives ........................................................................ 107 4.8. Impact of the scheme in France ................................................................................ 109 1 | P a g e 4.9. International impact of France’s support programme ............................................. 119 4.10. Conclusion ................................................................................................................. 123 5. Exception Culturelle – Acte I: the previous case for the defence ..................................... 126 5.1. Changing political structures .................................................................................... 134 5.2. Negotiating positions ................................................................................................ 138 5.2.1. Economic arguments ........................................................................................ 138 5.2.2. Ideological issues .............................................................................................. 140 5.2.3. Legal considerations.......................................................................................... 143 5.3. The cultural exception .............................................................................................. 145 5.4. The digital exception ................................................................................................. 147 5.5. Conclusion ................................................................................................................. 151 6. Digital evolution: accommodating video on demand within French film policy .............. 153 6.1. Market evolution ...................................................................................................... 154 6.1.1. Arrival of video on demand............................................................................... 157 6.1.2. Adoption of video on demand .......................................................................... 161 6.2. Broadening the scope of French policy ..................................................................... 164 6.2.1. A new directive ................................................................................................. 168 6.2.2. The chronologie des médias .............................................................................. 171 6.2.3. Subsidies and support ....................................................................................... 174 6.3. Impact of regulatory changes ................................................................................... 175 6.4. Conclusion ................................................................................................................. 184 7. 21st century concerns: rethinking policy to protect cultural diversity .............................. 186 7.1. Diversity as a justification for intervention ............................................................... 188 7.1.1. Room on the shelf ............................................................................................. 190 7.1.2. Broader access .................................................................................................. 192 7.1.3. Navigating abundance ...................................................................................... 193 7.1.4. Enter the internet giants ................................................................................... 197 7.1.5. Greater freedom of expression ......................................................................... 199 7.2. Conclusion ................................................................................................................. 201 8. Deconstructing diversity: a quantitative assessment of the French film industry ........... 202 8.1. Why quantify diversity? ............................................................................................ 203 8.2. Measuring diversity ................................................................................................... 206 8.3. Analysis of diversity in France’s film industry ........................................................... 212 8.3.1. Variety in cinema .............................................................................................. 213 8.3.2. Balance in cinema ............................................................................................. 216 2 | P a g e 8.3.3. Disparity in cinema ............................................................................................ 219 8.3.4. Variety in the video-on-demand sector ............................................................ 222 8.3.5. Balance in the video-on-demand sector ........................................................... 226 8.3.6. Disparity in the video-on-demand sector ......................................................... 228 8.4. Comparison of cinema and video on demand .......................................................... 230 9. French film policy: re-examining the case for the defence .............................................. 236 9.1. The cultural exception: a ‘piece of rhetoric’ or legislative
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