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Bilan Germany - 2002 9/28/21 1:47:02 PM Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 French films represented 7.3% of movie programming on German TV channels this year, outscored by British films, which obtained a 7.8% share. The U.S. remained the number 1 source of films (57%), ahead of Germany, whose market share nevertheless picked up by 0.7%. The number of French films programmed on the public broadcasters ceased to decline this year, and even increased on several regional channels. ZDF remained the leading broadcaster of French films. This channel ramped up its share of movie programming devoted to French fare, running at 15%, against 13% in 1997. It successfully reran l’Ange noir, and presented le Garçu and Toxic affaire, as well as a number of classics such as les Seins de glace, Don Camillo Monseigneur and la Guerre des polices. Since 1995, the number of films shown on ARD had dwindled. It stabilized in 1998 at 67 titles, with a host of recent titles including Élisa, la Fleur de mon secret, L. 627 and les Apprentis. Regional public channels saw an uptrend: up 6 titles on Bayern 3, up 10 on West 3 and up 19 on B1 in Berlin. Among the commercial channels, TM 3 outstripped Vox in the number of French titles scheduled: it programmed 78, 13 more than in 1997. This channel (owned by the TeleMûnchen Group) broadcast essentially catalogue films, and devoted 28% of film slots to French fare, an all-time high in Germany. French films' programming share on Vox exceeded 11%, with 75 titles offered, on a par with the previous year. This channel presented a range of recent titles like Fanfan, les Visiteurs, Un indien dans la ville and Highlander III, and catalogue films such as Fantomas, la Piscine and les Trois Mousquetaires. The situation was of concern on the pay-TV channel Premiere, recently under the complete control of the Kirch group (and multibroadcast): the number of French titles programmed tumbled by half compared with 1997 (21 titles). Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 Statistics for French films (theatrical release) - Germany Release details - 2002 Film title Box Office Admissions Number of Sales agents Local (€) prints distributors 1 Asterix and 8,512,691 1,614,311 721 Pathé Films Tobis Film Obelix, Mission Cleopatra 2 8 Women 7,936,873 1,352,784 271 STUDIOCANAL Constantin Film 3 Brotherhood of 5,890,976 891,754 300 STUDIOCANAL Helkon the Wolf Filmverleih 4 Winged 4,582,436 810,137 175 France tv StudioCanal Migration distribution Germany 5 The Pianist 3,829,658 591,132 116 STUDIOCANAL Tobis Film 6 Amelie 2,615,613 540,337 181 TF1 Studio Prokino 7 Tanguy 1,470,238 254,490 101 TF1 Studio Prokino 8 He Loves Me... 940,896 164,526 95 TF1 Studio Prokino He Loves Me Not 9 The Girl from 804,790 131,629 67 Tamasa Prokino Paris Distribution 10 Amen. 549,700 100,068 74 Pathé Films Leonine (Concorde Filmverleih) 11 Steal 398,117 66,249 240 Solo Filmverleih 12 Taking Sides 332,487 60,191 41 Alamode 13 The Piano 213,078 41,260 36 mk2 films Leonine Teacher (Concorde Filmverleih) 14 My Wife is an 182,869 32,434 30 Pathé Films Leonine Actress (Concorde Filmverleih) 15 Secret Life 155,684 28,646 15 Alamode 16 Mademoiselle 145,271 26,655 12 France tv Alamode distribution 17 The Son's 139,974 25,609 40 Wild Bunch Prokino Room International 18 Red Satin 130,072 23,991 10 Pyramide Alamode International 19 The Closet 128,597.73 21,928 0 Gaumont Tobis Film 20 Behind the sun 105,106 18,535 33 Buena Vista International - Allemagne 21 Kiss of the 91,420 14,819 0 EuropaCorp Tobis Film Dragon 22 I'm Going Home 88,943 16,077 10 Gemini Films Arsenal Filmverleih GMBH 23 Who Knows 88,481 12,705 7 Celluloid StudioCanal Dreams Germany Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 24 Mortal Transfer 87,535 15,403 11 Leonine (Concorde Filmverleih) 25 Little Senegal 76,512 13,696 10 TF1 Studio Alamode 26 Far Away 55,795 10,269 8 Fox France Alamode 27 The Lady and 43,032 7,538 3 Pathé Films Tobis Film the Duke 28 Marie-Line 38,318 7,683 8 The Bureau Alamode Sales 29 Ali Zaoua: 38,231 8,651 6 TF1 Studio Arsenal Prince of the Filmverleih Streets GMBH 30 Tosca 37,827 6,141 16 Editions Integral Films Montparnasse 31 Fat Girl 33,643 6,581 4 Pyramide Salzgeber & International Co. Medien GmbH 32 Contempt 30,108 5,761 4 STUDIOCANAL Neue Visionen Filmverleih 33 Swing 29,589 6,142 4 Pyramide Arsenal International Filmverleih GMBH 34 Poetical 24,295 5,051 5 Pyramide Kool Refugee International Filmdistribution 35 The 23,492 4,578 5 Celluloid Alamode Pornographer Dreams 36 Alphaville 23,354.71 4,635 3 Tamasa Neue Visionen Distribution Filmverleih 37 Time Out 21,428 4,022 8 Celluloid Alamode Dreams 38 The Captive 21,214 4,161 3 Alamode 39 The Luzhin 21,057 3,473 10 Columbia Defense TriStar GmbH 40 Monday 14,932 2,790 4 Celluloid Kairos Morning Dreams Filmverleih 41 Le Vent en 14,709 5,500 3 DMVB Films Flax Film emporte autant 42 My Life to Live 10,416 2,237 3 Les Films du Neue Visionen Jeudi Filmverleih 43 The Secret 10,126 1,775 7 Wide X-Verleih AG 44 Totally Flaky 8,463 1,555 3 Pyramide Neue Visionen International Filmverleih 45 La Voleuse de 8,250 1,500 1 Peripher Saint-Lubin Filmverleih 46 Human 5,840 1,354 2 Celluloid Neue Visionen Resources Dreams Filmverleih 47 The Milk of 3,439 593 2 Peripher Human Filmverleih Kindness 48 The Whims of 2,351 427 3 Tamasa Progress a River Distribution Filmverleih 49 The Profession 1,744 384 3 STUDIOCANAL MFA of Arms 50 Deep Breath 1,700 350 2 mk2 films Academy Films Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 51 Breathless 707 225 3 STUDIOCANAL Neue Visionen Filmverleih Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 French films acquired (production year : 2002) Film title Film export Local distributor Production status companies/International distributors 18 Years Later STUDIOCANAL Tobis Film Film acquired Gangsters France tv distribution StudioCanal Germany Film acquired Body Snatch Orange Studio Atlas Film GmbH Film acquired Maléfique Tamasa Distribution StudioCanal Germany No theatrical release Fanfan la Tulipe EuropaCorp Tobis Film Film acquired The Very Merry Widows Pyramide International Prokino No theatrical release Kaena, The Prophecy STUDIOCANAL Senator Filmverleih Film acquired Payoff TF1 Studio Atlas Film GmbH Film acquired Blanche EuropaCorp Tobis Film Film acquired Amateurs Arsenal Filmverleih GMBH No theatrical release Me and My White Man Kairos Filmverleih No theatrical release Anything You Say Tamasa Distribution Splendid Film No theatrical release Anything You Say Tamasa Distribution Splendid Film Film acquired The Son Wild Bunch International Filmgalerie 451 Film acquired Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 Market development Year Admissions Admissions Box office for Box office for Number of Average (all to French films of all French films screens ticket price nationalities) films nationalities (€) (€) (€) 2019 118,611,962 4,184,548 1,024,037,82 31,653,053.6 4,961 8.63 2 9 2018 105,356,112 3,011,434 899,318,008 22,928,029.3 4,849 8.53 3 2017 122,300,000 5,034,545 1,056,100,00 42,068,960.4 4,803 8.64 0 6 2016 121,100,000 3,512,981 1,023,000,00 24,820,468.5 4,739 8.45 0 2015 139,180,601 4,762,954 1,167,136,95 35,519,538 4,692 8.39 1 2014 121,700,000 8,743,727 979,700,000 64,160,460 4,637 8.05 2013 129,700,000 4,097,256 1,023,000,00 28,574,742 4,610 7.9 0 2012 135,100,000 14,998,525 1,033,000,00 105,459,598 4,617 7.7 0 2011 129,600,000 6,329,586 958,100,000 46,739,833.8 4,640 7.4 2010 126,600,000 3,593,952 920,400,000 23,064,799 4,699 7.3 2009 146,300,000 4,997,925 976,100,000 31,538,971 4,734 6.7 2008 129,400,000 5,663,935 794,700,032 33,251,821 4,810 6.14 2007 125,400,000 6,064,394 767,900,032 35,989,218 4,832 6.12 2006 136,700,000 9,190,698 814,400,000 58,714,827 4,848 5.96 2005 127,300,000 6,042,202 745,000,000 35,133,796 4,889 5.85 2004 156,700,000 4,627,037 892,899,968 27,048,294 4,870 5.7 2003 149,000,000 2,411,216 850,000,000 13,482,266 4,868 5.7 2002 163,900,000 6,972,742 960,000,000 40,022,078.4 4,868 5.86 4 2001 177,925,484 5,510,766 987,686,381.
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  • Published Version

    Published Version

    PUBLISHED VERSION Maggie Tonkin From 'Peter Panic' to proto-modernism: the case of J.M. Barrie Changing the Victorian Subject, 2014 / Tonkin, M., Treagus, M., Seys, M., Crozier De Rosa, S. (ed./s), pp.259-281 © 2014 The Contributors This work is licenced under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0) License. To view a copy of this licence, visit http://creativecommons.org/licenses/by-nc-nd/4.0 or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This licence allows for the copying, distribution, display and performance of this work for non-commercial purposes providing the work is clearly attributed to the copyright holders. Address all inquiries to the Director at the above address. PERMISSIONS http://creativecommons.org/licenses/by-nc-nd/4.0/ http://hdl.handle.net/2440/84284 13 From ‘Peter Panic’ to proto-Modernism: the case of J.M. Barrie Maggie Tonkin The author may be dead as far as Roland Barthes is concerned, but the news is yet to hit the street. Probably nothing speaks more loudly of the gap between academic literary criticism and the culture of reading outside the academy than the latter’s continuing obsession with the author. Barthes’s claim that the author is neither the originator nor the final determiner of textual meaning has assumed the status of orthodoxy in scholarly poetics. Whilst the early austerity has faded somewhat, such that discussion of the historical specificity of the author is no longer scorned in literary studies, the Romantic privileging of the author as the ‘fully intentional, fully sentient source of the literary text, as authority for and limitation on the “proliferating” meanings of the text’, as Andrew Bennett puts it (55), has never regained its former currency.