“Netflix Wanted to Hold a Festival, and the Film World Tore Itself Apart.” Independence and Struggles at the Boundaries of a Cultural Industry
In late 2021, the proposed programming of the Netflix Film Club—a festival showcasing Netflix original productions—in some of France’s most renowned arthouse cinemas, sparked fierce controversy. The polemic revealed a united front among film distribution players—from the most established to the most...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/bssg, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
| Cyhoeddwyd: |
Biens Symboliques / Symbolic Goods
2025
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| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | In late 2021, the proposed programming of the Netflix Film Club—a festival showcasing Netflix original productions—in some of France’s most renowned arthouse cinemas, sparked fierce controversy. The polemic revealed a united front among film distribution players—from the most established to the most marginal—opposing the platform’s attempts to cross the threshold into movie theatres. The intensity of these reactions can be read as the expression of a struggle to maintain the boundaries of the cinematic field in the face of a player perceived as alien to the industrial and artistic logics of French cinema. But it is also worth highlighting how the arthouse cinemas that initially approved of the idea (before ultimately backtracking), and institutions such as the Cinémathèque française and the Institut Lumière (which ultimately agreed to programme the event), justified such a seemingly sacrilegious act of programming, often by invoking the notion of “independence.” |
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