Why is the pan-European cinema, in effect, the American cinema?
Why do European leaders act as if piracy is a problem when almost nobody pirates European movies?
Why can’t the European Commission adopt policies to bring more French movies about the self-destructive alter-egos of French directors to wider audiences?
How many Yuanbucks will the UK Provisional Authority pay the WB-USA to keep it from moving production of the 2021 Harry Potter reboot to the Czech Hegemonic Zone?
Find the answers to these questions and more in:
In which we discuss the long list of current EU copyright enforcement initiatives and ask: does this make sense for Europe?
In which we deploy evidence, including World Bank data and a list of the top 100 pirated movies, to argue that it does not make sense! And that the French position (that of our own peuple) makes the least sense of all!
In which we discuss the dilemmas facing EU audiovisual policy and make some modest proposals to free European cinema from its obscurity and do away with the public financing of Hollywood blockbusters.