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The article presents a round table discussion concerning film distribution in France. Among the topics discussed are: the increasing number of films released in French motion picture theaters, the number of "commercial" films that are shown in theaters that have been classified art and independent theaters, and the increase in multiplex theaters in France.

The article focuses on a number of political, financial and artistic questions concerning the motion picture industry that were discussed by participants in the 2007 Cannes International Film Festival. Among the issues discussed were: the slow development of video-on-demand (VOD) in France, the status of "independent" films and filmmakers, and the question of employment contracts for part-time cultural industry workers.

During the 2006 Cannes Film Festival, the Centre national de la cinématographie presented a report on issues facing the motion picture industry in France. Among the topics discussed were: the challenge of digital media and different ways of releasing films, the problems of Internet piracy of films, the quality and number of French films released each year, the role of finance in the creation of films, and the definition of art and independent cinema.

The article presents an interview with filmmaker Bruno Rolland concerning the status of short films in France. Rolland discusses a commitment by the French Centre national de la cinématographie (CNC) to partner with French television stations in order to provide more support for short filmmaking. The article also discusses Rolland's view of the entire system of finance for short subject films in France.

This article offers an interview with the Director of Multimedia for the French National Center for Cinematography (CNC), Guillaume Blanchot. Among the topics discussed are the issue of digital art as it relates to government financing and artistic license, a description of different types of works that are being created as a result of increased digital medias, and what Blanchot believes to be the next big steps in art.

This article examines the topic of decentralization in the French film industry prompted by the 29th Festival Cinéma Méditerranéen de Montpellier, held October 26 to November 4, 2007. Regions in France are providing more funding for film production and film professionals are calling for production to be spread out among them. The author looks at the relationship between the state, the Centre national de la cinématographie (CNC), the regions and film professionals.

The article focuses on short films that were presented at the Clermont-Ferrand Film Festival, which was held from January 26-February 3, 2007. The author discusses the selection of films for the festival as well as the system of financing short subject films. Several films are reviewed, including: "Engin," by Gabe Ibanez, "Le Pays des chevaux," by Ramon Bloomberg and "Rapace," by Joao Nicolao.

The article focuses on the motion picture financing system in France. In particular, the article discusses support by France's Centre national de la cinematographie (CNC), in the form of matching funds, for French regions. According to the article, the region that has carried out regional programs for the support of the cinema industry the most is in the Vendôme. In this region, visual education programs and support for the distribution of films are part of the region's cultural policy.

The article focuses on government support for films in France. According to the article, the city of Paris, the Department of Seine-Saint-Denis, and the Region of Ile-De-France have begun a program to support short subject films. About twenty film projects are expected to receive assistance in 2007.

The article presents an interview with Marc Nicolas, who is the director of the French film school La Fémis in Paris, France. Nicholas believes that the most outstanding accomplishments of the school during its first 20 years are the accomplishments of those who founded the school and the work of the students and alumni. Nicolas believes that the school is a good training ground for students because it provides a hands-on opportunity to learn about the motion picture industry and art form.

The article presents an interview with French motion picture director F. J. Ossang. Ossang discusses the challenges of finding funding for his films. He also mentions that he briefly considered making a film adaptation of "On the Road" by Jack Kerouac. Ossang describes a planned film project to be set in France and Argentina. This film will be partially financed by individual donations to a fund called the Starkov fund.

The article focuses on French government assistance programs for the short film industry in France. A new government funding initiative and a report commissioned by the French Cultural Ministry were discussed at the Clermont-Ferrand film festival. Among the initiatives that the French government has announced is an increase in sponsorship from 45,000 to 78,000 euros on average per film project and improved co-sponsorship programs in cooperation with French regions.

This article provides an interview with Dominique Wallon, former director general of the CNC (Centre national de la cinématographie) and President of the Festival des cinémas d'Afrique du pays d'Apt. Topics discussed include whether a decrease in cultural action credits is planned, Wallon's thoughts on the CNC policy change towards festival funding, and the difference in funding policy for different types of festivals.

This article provides an interview with Philippe Germain and Stéphane Kahn, Delegate General and Programmer respectively of the Agence du Court Métrage. The organization, which is dedicated to the preservation and conservation of short films, opened its collection to digital films in the fall of 2007. The two talk about how many short films are shot digitally, whether theaters have the capabilities to project digital films, and the number of digital films already in the catalog.

This article describes the 16th Biarritz Film Festival held September 24 to 30, 2007 in Biarritz, France. The author was not very impressed with the films shown at the festival but mentions several that were screened including "Postales de Leningrado" from Mariana Rondon which won the Grand Prize and "La Noche de los inocentes" from Arturo Sotto which took away the Jury Prize.

The article presents an introduction to this special issue concerning digital cinema and a special digital film week organized by the MK2 Bibliothèque motion picture theater in Paris, France.

The article focuses on the 5th Festival Nemo, which was held at the Cinéma des Cinéastes in Paris, France. The author interviews the director of the festival, Gilles Alvarez. The article discusses the specific focuses of the festival, which featured more than 140 films. The transformations to the cinema industry and the art of filmmaking that are a result of digital cinema are also discussed.

The article reviews the film "Avant que j'oublie," directed by Jacques Nolot.

The article focuses on short subject films and their programing on French television. The author discusses the France 3 program "Libre Court." The program is fifteen years old and has shown 900 films, according to the article. The program's selection of short subject films was chosen jointly by Canal Plus, Arte, and France 2. The author also discusses short subject film festivals and diffusion of short subject films on the Internet.

The article presents ten proposals to support short films, which were discussed by participants at a "round table" that was held on January 31, 2006 in Clermont-Ferrand, France. Proposals centered around: developing financial aid for short films, recognizing films that are made by associations or by amateurs, improving short film distribution, and improving the recognition of short films by the Centre national de la cinématographie (CNC).

The article focuses on the increase in the number of films in France that have been classified as art and independent films since the classification system was reformed in 2002. According to the article, over 60 percent of films in France fall into this category and over half of motion picture theaters are classified as art house theaters. Certain film genres are being systematically assigned this classification. The causes and consequences of this classification are discussed.

The article focuses on questions related to the future of the motion picture industry. Discussions from a conference of industry professionals, held in October 2006 in Dijon, France, are mentioned. The author examines the increasing number of films that are only kept in motion picture theaters for a few weeks, the challenges presented by video on demand (VOD), and ways that the industry is combating Internet piracy of films.

The article focuses on the company Chalet Pointu, which produces DVDs of short films. The author contrasts the business models of other DVD publishers with that of Chalet, which focuses on small production of multiple titles. The company has a store in the 11thmunicipal arrondissement of Paris. Chalet produces nearly all of its DVDs on demand using high quality equipment. If a title becomes a best-seller, the company will produce DVDs using a traditional method of production.

The article reports that the "Cahiers du Cinéma" and L'Agence du court métrage have selected five short films for inclusion in France's Centre national de la cinématographie list of fifteen award winning films of 2006. The films will be presented in Paris in June 2006 and will also be featured at the La Rochelle film festival in July 2006. A list of films is included, such as: "Les Profondeurs," by Marina Deak, "Cindy, the Doll Is Mine," by Betrand Bonello and "De sortie," by Thomas Salvador.

The article focuses on the work of the French association GREC, which seeks to promote the work of aspiring filmmakers. The association sponsors a number of filmmakers in order to enable them to make their first short films. The association also allows the directors to keep one half of the profits from their films.

The article provides an interview with motion picture producer Sylvie Pialat. The author focuses on the film "Les Meurtrières," by Patrick Grandperret. Among the topics discussed are: how Pialat was able to work with Grandperret for her first film, the tentative attempts to film the story as early as the 1970s, and Pialat's future film projects.

The article reports on films that were featured at the Clermont-Ferrand film festival in January and February 2006. The author mentions the films "Du soleil en hiver," by Samuel Collardey, "Transaction," by Jacques Télémaque, and "Fais de beaux rêves," by Maryline Canto. The article also mentions the author's regret that the film "La Course nue," by Benoït Forgeard did not receive an award at the festival.