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This essay examines how the movies, the movie industry, and a movie consciousness filtered into the pulp magazines during sf’s formative, pre-World War II era. It measures that early film/literature relationship by surveying the primary pulp magazines associated with the beginnings of sf publishing in the United States and framing them in the context that Francesco Casetti applies to early cinema when he suggests that the movies, as a pre-eminent modernist form, provided a kind of “script for reading the modern experience,” one that “not only proposed a reading of that experience, but at times imposed a pattern for its expression and communication” (5). This approach locates similar impulses for “reading” and shaping—via film—in stories that involved film or the film industry, in film-related advertising, in editorial matter and readers’ letters, in reviews, and in cover illustrations, all suggesting an interest in, even fascination with “scientifilms,” as they were often termed. In sum, it looks at the haunting traces of another medium in the early discourse surrounding sf in order to determine how a cinematic mindfulness influenced or played a part in this formative era and, in the process, helped us expand those boundaries usually associated with the early history of and sense of sf as a cultural idea or genre.

Summary - Public support for cultural industries (movies, music, publishing) raises renewed issues. This is due on the one hand to a new context, defined by globalization, digitalization, the omnipresence of ICTs and liberalization. On the other hand, whereas public support is an accepted idea in these industries, its pernicious effects make it harder to legitimate. The paper focuses on the case of the French movie industry. It shows that public policies in this industry are caught in an inflationist spiral, and that their results can't be legitimated after the fact. To resolve the dilemma of public policies in cultural industries, the paper proposes a renewed theoretical corpus, which includes the concepts of economy of creation and information economy..

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This article deals with the importance of the Indian film industry for the strengthening of India’s soft power and with the capability of the country to build an international status of active cultural power. As such, on the one hand, I seek to analyze the institutional features of the Indian movie system and to focus on the role of India within the international regime for audiovisual sector, and on the other hand, I aim to emphasize the worldwide cultural competition that India faces. The findings will show that the domestic structures are a major factor in order to understand the influence of India and its status within the world audiovisual economy, within which Hollywood has highly financing abilities and global distribution strategies.