Name: 法國電影的運作方式大解密！ (How French Cinema Works)
Uploaded: 2026-01-14T17:24:00.000Z
Duration: 9 min 53 s

程度副詞

If you pay attention to the opening credits of French movies, you're very likely to see the same name again and again.

如果你仔細看法國電影的片頭字幕，很可能會一再看到同一個名字。

This one, the national center for Cinema and the Moving Image, or the cnc.

這個，就是國家電影與動畫影像中心，簡稱 CNC。

情態副詞

The CNC is fundamentally different from all the producers, distributors and financiers you see at the beginning of American films.

CNC 和你在美國電影開頭看到的製片商、發行商和融資者，基本上都不同。

See, all these are private for profit corporations.

你看，這些都是私營營利公司。

The French CNC is a publicly owned government agency.

法國的 CNC 則是一個公營政府機構。

For for decades it sat at the center of cinema in France, affecting every layer of the industry there.

幾十年來，它一直處於法國電影產業的中心，影響著那裡的各個層面。

It represents a radical alternative to the economic model of US filmmaking.

它代表了一種與美國電影製作經濟模式截然不同的選擇。

But Americans basically know nothing about how it works.

但美國人基本上對它的運作方式一無所知。

And when I got curious, I found it hard to find a breakdown of the French system in English.

而且當我好奇時，我發現很難找到對法國體系的英文細節分析。

I did some digging, some translation, and I think I understand the basics now.

我做了一些研究，一些翻譯，我想我現在懂基本概念了。

And I want to share that with you because I believe the French system is is the missing piece of this conversation we have about the state of the movies.

我想和大家分享，因為我相信法國體系是我們討論電影產業現況時，所缺少的關鍵部分。

The first thing to understand is that the CNC helps to fund movies, TV and other digital creation in France at all levels of the process, from pre production to exhibition.

首先要了解的是，CNC 協助資助法國電影、電視和其他數位創作，涵蓋了從前期製作到發行放映的各個階段。

The two big questions that come from this are where does the CNC get its money and where exactly does that money go?

由此衍生的兩個大問題是：CNC 的錢從哪裡來？錢又確切流向哪裡？

Well, thankfully, these questions are easy to answer because the CNC releases a billon, or balance sheet of its activities every year.

幸運的是，這些問題很容易回答，因為 CNC 每年都會公佈其活動的帳目，也就是資產負債表。

An overview of the health of the French film industry.

這是一個關於法國電影產業健康狀況的總體概覽。

And already, here's a major difference from the us where private companies from different sectors have no obligation to release precise figures, let alone combine them in a handy document for public consumption.

而且，這已經和美國有很大的不同了，美國的私營營利公司沒有義務公佈精確的數字，更不用說將它們彙整成一份方便大眾閱讀的文件了。

The first is from attacks on cinema admissions.

第一種是來自電影門票的稅收。

10.7% of every movie ticket sold in France, whether the movie is French or not, goes to the CNC.

在法國，每賣出一張電影票，無論電影是法國片還是其他國家，都有 10.7% 會進到 CNC。

In 2022, that amounted to 118 million euros on 152 million tickets.

2022 年，這筆收入相當於 1.52 億張票，總計 1.18 億歐元。

The second source of revenue is a tax on TV providers established in the mid-80s when cinema attendance across Europe was in decline.

第二個收入來源是電視業者稅，這是在 80 年代中期，歐洲電影觀眾人數開始下滑時設立的。

The TV tax made up for the losses in the movie ticket tax and then some.

電視稅彌補了電影票稅的損失，甚至還有剩。

In less than five years, the TV contributions exceeded ticket contributions and never looked back.

不到五年內，電視稅的貢獻就超越了電影票稅，而且一路領先。

In 2022, this tax came to flat 469 million euros for the CNC.

2022 年，這項稅收為 CNC 帶來了整整 4.69 億歐元。

The third source of revenue is a tax on physical media, DVDs and Blu Rays, video on demand and French streaming platforms.

第三個收入來源是實體媒體、DVD 和藍光光碟、隨選視訊以及法國串流平臺的稅收。

This amounted to 127 million euros in 2022.

2022 年這項收入總計為 1.27 億歐元。

All these taxes go directly to the CNC and not into the general coffers of the French government.

這些稅收全數直接撥給 CNC，而不是進入法國政府的總庫房。

They're taxes on the industry for the industry.

這些是產業為產業所收取的稅。

Taxes that collected a whopping 714 million euros in revenue in 2022.

這些稅收在 2022 年就收了驚人的 7.14 億歐元。

To put that in perspective, that four times larger than the 2022 budget of the National Endowment of the Arts in the States for a country that's five times smaller in population.

這樣比較起來，這筆金額是美國國家藝術基金會 2022 年預算的四倍，而法國人口只有美國的五分之一。

那麼，這些錢都用到哪裡去了呢？

43% of the support account in 2022 went toward cinema, 39% went to TV and streaming, and

2022 年，支持帳戶的 43% 用於電影，39% 用於電視和串流，

18% went toward a selection of other initiatives, including support, video game creation, immersive audio, visual works, VFX studios, preservation of old films, and

還有 18% 用於其他多項計畫，包括支持、電玩創作、沉浸式音效、視覺作品、VFX 工作室、舊電影保存，以及

For this video, I'm going to focus on just the portion that went to cinema.

在這個影片裡，我會專注在給電影產業的部分。

Okay, so you're a French film producer and you want to draw on these funds.

好的，假設你是一位法國電影製片人，想要申請這些資金。

Well, there are two ways you can do automatic aid and selective aid.

嗯，有兩種方式可以申請：自動補助和選擇性補助。

You can think of automatic aid as a credit account for returning filmmakers.

你可以把自動補助想像成是給有經驗的製片人的信用帳戶。

When you make a movie, it contributes to the system and in turn turn earns you credits based on its success.

當你製作一部電影時，它會為這個系統貢獻，然後根據電影的成功，為你賺取相對應的點數。

Credits which you can then cash in on your next movie, and so on and so on.

這些點數之後可以用在你下一部電影上，以此類推。

In this way, the automatic aid is less like a subsidy and more like a reinvestment of funds that rewards box office success.

這樣一來，自動補助就不太像補助金，更像是對票房成功的再投資。

Selective aid, on the other hand, is awarded via the advance on receipts, often to first time directors.

另一方面，選擇性補助是透過預收票房來發放，通常是給首次執導的導演。

It's meant to be paid back if the film becomes profitable.

這筆錢如果電影有獲利的話，是要償還的。

But few of these films actually make enough money to do that that so it's effectively a grant.

不過，很少有電影能賺到足夠的錢來做到這一點，所以這實際上是一種補助金。

Critics say this lack of commercial success argues against this program.

評論家認為，這種商業成功的缺乏證明瞭這個計畫的不可行。

But that's the point of the advance on receipts.

但這正是預收票房的重點所在。

To support an independent cinema that is bold in terms of market standards and that can't find its financial balance without public assistance.

為了支持一個在市場標準上大膽、若沒有公家協助就無法找到財務平衡的獨立電影產業。

In the US film industry, there's only one metric to judge movies.

在美國電影產業，只有一個標準來衡量電影。

Without participation by the state, there can be no other metric.

如果沒有國家的參與，就不會有其他標準。

That's obviously true for Hollywood, but it's also true for American independent cinema.

這對好萊塢來說顯然是真的，但對美國獨立電影產業也是如此。

Maybe a handful are purely philanthropic, like family and friends.

也許只有少數是純粹出於慈善，像是家人和朋友。

But philanthropy is no substitute for public action.

And those investments are usually pretty small.

In 2019, across 53 projects, the average advance for first time directors was €480,000.

2019年，在53個專案中，首次執導的導演平均預付款為48萬歐元。

Now, the CNC doesn't fully fund films, but

現在，CNC並不是全額資助電影，但是

that kind of leg up gives lots of new filmmakers a chance that they otherwise wouldn't get as well as the creative license to make something without the pressure to aim for a broad based box office hit.

這種幫助讓許多新導演有機會，否則他們就得不到，也能有創作空間，不必承受追求廣泛票房成功的壓力。

But the CNC does more than just give money for production.

但CNC做的可不只是提供製作資金。

After all, the movies themselves are only one part of the cinema ecosystem.

畢竟，電影本身只是電影產業生態系統的一部分。

Once made, they need to be distributed, exhibited, and of course, watched.

電影拍完後，還需要發行、放映，當然，還得有人看。

The CNC supports all these facets of the industry.

Every year, for example, it awards millions of euros for the maintenance and renovation of theaters, especially those that show arthouse films, and

舉例來說，CNC 每年會撥出數百萬歐元，用於戲院的維護和整修，特別是那些放映藝術電影的戲院，

makes sure these theaters exist in communities large and small across the country, so everyone has easy access to a diversity of movies.

並確保全國各地的大小社區都有這些戲院，讓每個人都能輕鬆接觸到各式各樣的電影。

The CNC also invests in cinema education, working to add film literacy classes to the curriculums of young students, regularly taking them out to the local theater with an aim to inspire in new generations a love for all kinds of movies, not just those that giant corporations have millions of dollars to promote.

CNC 也投資於電影教育，努力將電影素養課程納入年輕學生的課綱，定期帶他們去當地戲院，目標是培養新一代對各種電影的熱愛，而不只是那些大公司花大錢宣傳的電影。

You know, I actually think that these initiatives are just as valuable as support for production.

說真的，我認為這些措施跟支持製作本身一樣有價值。

To maintain a healthy cinema, it's important to think of the industry holistically in America.

要維持健康的電影產業，我們必須從整體角度來看待這個產業。

When we talk about the state of cinema, I think we often just focus on the movies.

當我們談論電影產業現況時，我認為我們常常只關注電影本身。

But even great films get lost when there's nowhere to see them for anyone who doesn't live in a big city, when we're conditioned from an early age to see only certain kinds of movie in the theater.

但即使是偉大的電影，如果住在非大城市的人沒地方看，或者我們從小就被養成只在戲院看特定類型的電影，那這些電影就沒人會注意到。

All the problems you'd expect from a large bureaucracy.

就像任何大型官僚體系會遇到的問題一樣。

Sluggishness, red tape, waste, controversies over who gets to choose what films get money.

效率低落、繁文縟節、浪費資源，以及關於誰有權決定哪些電影能獲得資金的爭議。

It's a system that has constantly needed to be tweaked as the industry changes, as it had to do when TV arrived and then physical media and now streaming, which it's still trying to figure out.

這個體系隨著產業的變遷，像是電視的出現、實體媒體的普及，以及現在的串流，不斷需要調整，而它還在努力適應。

This isn't a video about comparing the American system to the French system.

這支影片不是要比較美國的體系和法國的體系。

I actually think that comparison doesn't really make sense.

我覺得那種比較其實沒什麼意義。

這兩個體系是緊密交織在一起的。

The French program of subsidies and quotas was established in large part to fight against Hollywood dominance after the world wars and what it perceived as American cultural imperialism in the quote unquote free market.

法國的補助和配額制度，很大程度上是為了在二戰後對抗好萊塢的主導地位，以及對抗它認為在所謂的自由市場中的美國文化帝國主義。

Neither did any other country, with the exception of maybe India, which is why so many nations subsidized their cinema too.

除了印度之外，其他國家也都沒有，這也是為什麼許多國家會補助他們的電影產業。

Actually, in the last 20 years or so, this the US has begun to subsidize its own movies in a big way in the form of tax credits, which is just a perfectly American way to use public funds for market ends.

事實上，在過去二十年左右，美國開始以稅收抵免的方式大力補助自己的電影，這完全是美國人將公共資金用於市場目的的方式。

Those subsidies notwithstanding, it's almost impossible to imagine a CNC like agency in the States.

儘管有這些補助，但很難想像美國會有類似 CNC 的機構。

The American sensibility is just too allergic to that kind of socialist enterprise.

美國人的觀念實在太排斥那種社會主義式的企業了。

But I do think it's important to know how other systems can and and do work.

不過我認為瞭解其他體系如何能夠，以及確實地運作，是很重要的。

For all its issues, the French approach to film financing is envied throughout the world.

儘管法國的電影融資方式有其問題，但全世界都對它羨慕不已。

Its commitment to diverse, challenging cinema is unparalleled, and

它對多元、具挑戰性電影的承諾是無與倫比的，而且

its investment in the entire cinema ecosystem has helped to create a public of devoted filmgoers, people who want to go out to the movie theater and have a wide range of experiences there.

它對整個電影產業生態系的投資，幫助培養了一群忠實的觀眾，他們想走進電影院，在那裡獲得各種不同的體驗。

France, after all, is where cinema was born.

畢竟，電影的誕生地就在法國。