French videogaming

Abstract

This article discusses developments in French public policy towards videogaming in the 2000s, and explains them by locating them within the context of French cultural policy during the Fifth Republic (especially since the 1980s), and evolving interpretations of what kinds of activities can contribute to France’s ‘cultural presence’ in the world.

Old people, video games and french press: A topic model approach on a study about discipline, entertainment and self-improvement.

“…Th e video game industry and the French government have found a common interest in labelling video games a fl agship cultural institution (Dauncey, 2012). Members of the cultural fi eld have also taken an interest in video games, which have made their way into museums (Coville, 2013).…”

Cultural policy, creative clusters and the complexity of higher education: notes from the case of Enjmin in Angoulême, France

“…André Malraux, Minister (1959-1969 of the newly created Culture Ministry, brought a similar new dynamism into the state's interest in culture. He reassumed control over a field somewhat neglected under the essentially less interventionist stance of the Fourth Republic (Looseley 1995) seeking to rebuild France's national pride and global reputation (Dauncey 2012). Malraux's perspective was essentially one of 'democratising' French culture by opening up French elite culture to the masses (Dauncey 2012).…”

“…He reassumed control over a field somewhat neglected under the essentially less interventionist stance of the Fourth Republic (Looseley 1995) seeking to rebuild France's national pride and global reputation (Dauncey 2012). Malraux's perspective was essentially one of 'democratising' French culture by opening up French elite culture to the masses (Dauncey 2012). This vision persisted until the early 1980s, albeit incorporating regional and popular cultures and arts following the cultural and social upheavals of May 1968(Péry 1998, as well as reacting to pressure from feminist critiques of patriarchal notions of elite culture (cf.…”

“…The story of the emergence of Enjmin exemplifies how cultural policy's redefinition since the 1980sculminating in videogaming's legitimation as 'culture'enabled three policy fields (culture, higher education and industry/innovation) to coalesce fruitfully around supporting the videogames sector (within the creative economy). The French state began applying similar commercial and industrial support mechanisms to the videogames sector as previously enjoyed initially by cinema, then by popular music and other 'non-élite' cultural forms and practices (Dauncey 2012). Under the mid-2000s Raffarin government in particular, there was a significant push to exploit France's strong technology-base in computing (Dauncey 1996(Dauncey , 1997) and blend it with her strong BD tradition of graphic art and narrative/story-lines to promote the videogames industry.…”