Suchergebnisse

This book offers an in-depth analysis of political life in France and Europe at the beginning of the 21st century at a time of change and crisis. Encompassing questions about values, political actors and electoral choices, it is dedicated particularly to scholars and students enrolled in comparative politics programs.

THE HISTORY OF FRENCH BROADCASTING SINCE THE SECOND WORLD WAR HAS BEEN CHARACTERISED BY A DEGREE OF GOVERNMENTAL CONTROL UNEQUALLED IN OTHER WESTERN LIBERAL DEMOCRACIES. WHILE A VARIETY OF REFORMS HAVE BEEN INTRODUCED BY SUCCESSIVE GOVERNMENTS IN AN ALLEGED BID TO CUT THE STIFLING LINK WITH THE STATE BY ESTABLISHING A BBC-TYPE RELATIONSHIP, NONE HAS SO FAR COME ANYWHERE NEAR SUCCEEDING. IN THIS CONTROVERSIAL AREA OF FRENCH POLITICS CONTINUITY HAS BEEN MORE IN EVIDENCE THAN CHANGE. HOWEVER, WITH THE ACCESSION OF A SOCIALIST PRESIDENT IN 1981, BACKED BY A SOLID MAJORITY IN THE NATIONAL ASSEMBLY, CHANGE HAS NOW BEEN PLACED ON THE POLITICAL AGENDA. THE 1982 SOCIALIST REFORM OF BROADCASTING MARKS AN AVOWED ATTEMPT TO REJECT THE TRADITIONAL MODEL OF A GOVERNMENT CONTROLLED SERVICE BY MAKING THE BROADCASTING MEDIA POLITICALLY INDEPENDENT AND IMPARTIAL. THE REFORM ALSO AIMS TO PREPARE FRENCH BROADCASTING FOR THE TECHNOLOGICAL DEVELOPMENTS IN COMMUNICATIONS WHICH WILL TAKE PLACE DURING THE MITTERRAND PRESIDENCY.

The aim of this paper rests on three aspects. The first is to assess the organization of the policies of support of performing arts in France. We shall examine strategies of 4 levels of government. The State historically plays a central role in cultural public support. Cities are also key actors for it. Departments occupy a peculiar and variable place. Regions are new poles, still minor, of the governmental support of performing arts. For all these actors, we shall analyse their mode of intervention, their level of financing, and the main choices they do according to areas (dance, theatre, music) and types of action.The second objective is to examine the kind of relationship between the main levels of public action. We shall show that the public action, in show, is mainly marked by multilevel partnerships. If the State is not predominant any more in terms of financial support, it remains crucial within the process of artistic recognition.The third objective is to analyse the two main changes that affect this different public policies today. The emergence of new territorial institutions, the Metropolitan Communities, affects the financial and space conditions of cultural democratization. The new practices of festivals allow to go beyond the traditional debate about the pertinence of such events in terms of innovation, employment, social and spatial access and territorial attractivity.

The aim of this paper rests on three aspects. The first is to assess the organization of the policies of support of performing arts in France. We shall examine strategies of 4 levels of government. The State historically plays a central role in cultural public support. Cities are also key actors for it. Departments occupy a peculiar and variable place. Regions are new poles, still minor, of the governmental support of performing arts. For all these actors, we shall analyse their mode of intervention, their level of financing, and the main choices they do according to areas (dance, theatre, music) and types of action.The second objective is to examine the kind of relationship between the main levels of public action. We shall show that the public action, in show, is mainly marked by multilevel partnerships. If the State is not predominant any more in terms of financial support, it remains crucial within the process of artistic recognition.The third objective is to analyse the two main changes that affect this different public policies today. The emergence of new territorial institutions, the Metropolitan Communities, affects the financial and space conditions of cultural democratization. The new practices of festivals allow to go beyond the traditional debate about the pertinence of such events in terms of innovation, employment, social and spatial access and territorial attractivity.

To investigate whether adolescents are politicized, questionnaires were given to 81 schoolchildren aged 13-18 in Paris & Nanterre, France. It appears that in spite of the efforts of parents & institutions, who do not wish to provide political education, the children do have political opinions, necessarily formed by watching TV & listening to the radio. It was found that the less the child knew about politics, the more he tended to express traditional ideas, while those who had a little more background were curious to know more & go farther. 2 Tables, 2 Photographs, 10 References. AA Tr & Modified by S. McAneny

The aim of this paper rests on three aspects. The first is to assess the organization of the policies of support of performing arts in France. We shall examine strategies of 4 levels of government. The State historically plays a central role in cultural public support. Cities are also key actors for it. Departments occupy a peculiar and variable place. Regions are new poles, still minor, of the governmental support of performing arts. For all these actors, we shall analyse their mode of intervention, their level of financing, and the main choices they do according to areas (dance, theatre, music) and types of action.The second objective is to examine the kind of relationship between the main levels of public action. We shall show that the public action, in show, is mainly marked by multilevel partnerships. If the State is not predominant any more in terms of financial support, it remains crucial within the process of artistic recognition.The third objective is to analyse the two main changes that affect this different public policies today. The emergence of new territorial institutions, the Metropolitan Communities, affects the financial and space conditions of cultural democratization. The new practices of festivals allow to go beyond the traditional debate about the pertinence of such events in terms of innovation, employment, social and spatial access and territorial attractivity.