Swiss Film Research Papers - Academia.edu (original) (raw)

Top Papers
Most Cited Papers
Most Downloaded Papers
Newest Papers
People
- by
- •
- Ethnographic Film, Angola, Swiss Film, Colonialism and Film
- by Serge Goriely
- •
- Immigration, Sexuality, Immigration And Integration In Europe, Sex Work
- by Francesco Bono
- •
- German Literature, Italian Cinema, Italian cinema (Film Studies), Swiss Film
- by Gisela Hoecherl-Alden
- •
- Film Studies, Immigration, Swiss Film
- by Mireille Berton
- •
- Documentary (Film Studies), Documentary Film, Documentary Filmmaking, Swiss Film
- by Frédéric Gimello-Mesplomb
- •
- Cultural Policy, Regulation And Governance, Film History, Swiss Film
- by Gianni Haver
- •
- Newsreels and Cinemagazines, Swiss History, Second World War, Swiss Film
- by Suzanne Buchan
- •
- Film Theory and Practice, Animation, Creative Arts Therapy, Art Brut

T) impottance du cinéma dans les Expositions nationales a déjà | été soulignée à plusieurs reprises2. Ouvrant ses portes quelques t-J mois après les célèbres projections organisées à Berlin ou à Paris, I'Exposition de Genève en 1896 est I'occasion des premières séances en Suisse. Stratégiquement placé à côté des pavillons d'exposi-tion, le Palais des Fées a abrité un cinématographe Lumière, contri buant à faire découvrir le cinéma aux visiteurs de tout le pays3. En 1914, un cinéma est érigé au sein de I'Exposition et suscite la réalisa-tion d'une série de films qui marquent Ie début d'une production indigène régulièrea. À Zurich, en 1939, ce ne sont pas moins de trente espaces de projections qui sont disséminés sur le site et environ trois cents ûlms y sont projetés. LExposition de Lausanne, en 1964, esr res-tée célèbre pour les films d'Henri Brandt (La Course au bonlteur) et pour ses installations cinématographiques hautement complexes, dont les neuf écrans circulaires du Circarama et le pavillon de I'Armée5.

- by Gianni Haver
- •
- National Identity, Film History, Documentary Film, Swiss Film

European film production and distribution is currently regulated and shored up by a great many public policies drawn up by a range of institutions: the European Union (the supra-national level), central governments (the national level) and local governments (the sub-national level). This tripartite hierarchy creates a vertical policy axis in which the European Union plays an especially important role. Not only does the European Union fund areas in which national and local governments are traditionally weak, but it also sets out guidelines which all governments must follow when establishing policies and funds for films. But what would happen if the supra-national level suddenly vanished? Would national policies be capable of replacing European Union action in an effective and efficient way? The article answers this research question through the case study of Switzerland, which in 2014 has been excluded from the MEDIA programme (the main European initiative in the audio-visual field) after the results of a national referendum on mass immigration. The analysis of the compensatory measures introduced by the Swiss government for supporting films shows that a single State could successfully replace European initiatives only when these initiatives are not specifically inspired by the subsidiarity principle.

- by Robert Dassanowsky
- •
- Psychology, Schizophrenia, Swiss Film, Lighting Design