法國向外國電影產品開放

法國向外國電影產品開放
France Welcomes Foreign Film Productions

二零一零年法國的電影產業年收入是三億三千萬歐元，其中一億三千七百萬歐元是出口收入。十一部電影在外國的收入比在法國國內的收入還要高。這十一部電影包括各種類型的作品，有的是小型製作影片，也有大眾電影和動畫片。在動畫片領域，由於Mac Guff, Buf 和 Mikros等公司製作的作品所產生的影響，法國在特效和3D效果方面世界知名。

法國通過舉辦的一些活動，尤其是康城電影節和杜維爾美洲電影節，對全世界的影視作品起到了宣傳作用，從而成為全世界影視作品的聖地。法國是電影生產的大國，每年出品的故事片達兩百部，國家高等影音學院的“電影和影視專業教育和培養”（ FEMIS）的技術專長為世界所公認。

巴黎大區和普羅旺斯-阿爾卑斯-藍色海岸大區在電影業的投入，以及最近剛剛設立在里爾和里昂地區的影視設備，足以接待具有世界影響的影視作品製作。在拍攝外景時，法國的景觀、歷史和文化遺產也獨步天下。

另外，在膠片和資料的修復和建檔方面，法國也擁有世界一流的資源。法國的電影資料館擁有世界電影領域最大的資料庫。國家視聽研究所從事視聽領域的各種研究、培訓和作品的出品活動。

法國對外國影視作品的吸引力於二零零九年得到加強，法國在這一年制定了國際影視作品稅收優惠政策（TRIP），對外國公司牽頭，全部或者部份作品在法國製作的電影作品給予稅收優惠。自從制定了這一優惠政策以來，三十一部外國作品（拍攝，動畫製作，數位視覺效果合成）享受了這一政策，相當於節省了百分之二十的製作費用。其中十二部是全部或者部份在巴黎攝製的，其他的是在普羅旺斯-阿爾卑斯-藍色海岸大區、皮卡迪、布列塔尼、羅納阿爾卑斯和瓜德羅普島攝製的。

近年以來，有關外國電影製作的預算增加了四倍（二零零九年和二零一零年是五千萬歐元，而二零零八年只有一千萬歐元）。比如，BBC便在法國拍攝了有關“巫師梅蘭”（Merlin l’Enchanteur）的系列影視作品；一些美國的電影人也來法國製作影視作品，比如克林•伊斯武德（Clint Eastwood）的《從今以後》（Hereafter），馬丁•斯科西（Martin Scorsese）的《雨果•加布萊的發明》（The invention of Hugo Cabret），烏迪•阿蘭（Woody Allen）的《夜半巴黎》（Midnight in Paris）。

一部作品拍攝的天數決定了其對當地的經濟影響（設備租賃、旅館、後期製作，等等）。二零一零年，影視作品拍攝的總的天數超過了210天，而二零零八年只有九十二天。在同一個時期，每部故事片作品的平均拍攝天數從六天增加到了十四天。

法國政府投資部（AFII）的主席David Appia說：「法國的電影業在歐洲排名第一；法國這一產業的活躍是不爭的事實。由於法國自二零零九年以來制定了對國際影視作品的稅收優惠政策，規定在法國拍攝的外國影視作品可以享受稅收優惠，從而加強了法國在這一領域的地位。在兩年的時間裡，外國故事片的拍攝天數增加了一倍。在法國拍攝的每一部作品都會讓廣大的外國觀眾瞭解法國豐富、多樣和有吸引力的文化遺產。」

法國政府投資部（AFII）是法國政府負責接待國際投資的部門，也是提高法國經濟形象和吸引力的重要經濟部門。法國政府投資部與法國地區經濟發展署密切合作，為投資人提供個性化的服務。欲知詳情，請瀏覽網站 www.afii.fr或者www.investinfrance.org/china。對在法國製作的電影作品的稅收優惠政策由國家電影和動畫中心（www.cnc.fr）根據法國電影局（www.filmfrance.net）提供的分析報告進行具體管理。

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In 2010, the French cinema industry generated €330 million of revenues, with exports accounting for €137 million of this figure. Eleven films saw higher admissions overseas than in France, taking all genres into account, including art-house movies, general release films and animations. In the latter category, France has acquired a worldwide reputation in special effects and 3D expertise, through companies such as Mac Guff, Buf and Mikros.

France showcases productions from around the world, in particular during the Cannes Film Festival and Deauville American Film Festival. As a location, it provides significant support for cinema and audiovisual productions, and as a major film producer, making around 200 feature-length movies a year, France boasts a pool of expert technicians trained by FEMIS (the French national elite film school) which has a widely recognized reputation for excellence around the world.

Film studios in the Ile-de-France (Paris area) and Provence-Alpes-Côte-d’Azur regions, along with the recent completion of facilities in Lille and Lyon for example, mean that France can accommodate productions destined for global audiences. For location shooting, the natural, historical and cultural heritage of France is a major draw. France also has outstanding film restoration and archiving resources. The Cinémathèque Française museum houses the world’s largest database on the “Seventh Art”, while the National Audiovisual Institute (INA) leads R&D, training and production activities in all areas of picture and sound.

France's attractiveness as a location for foreign film productions was further strengthened in 2009 by the introduction of the Tax Rebate for International Productions (TRIP) designed for foreign companies making part or all of a film in France. Since it was introduced, 31 foreign productions (on-location filming, animation, digital visual effects) have been granted a TRIP rebate amounting to 20% of eligible expenditure. Twelve of these productions were shot entirely or partially in Paris and the others in the regions of Provence-Alpes-Cote-d’Azur, Picardie, Bretagne (Brittany), Rhône-Alpes and Guadeloupe.

Foreign production expenditure in France has increased fivefold in recent years (€50 million in 2009 and again in 2010, up from €10 million in 2008). The BBC, for example, decided to shoot a series of films on Merlin in France, while several American filmmakers have taken advantage of the scheme, including Clint Eastwood (Hereafter), Martin Scorsese (The Invention of Hugo Cabret) and Woody Allen (Midnight in Paris). The number of shooting days determines the knock-on benefits for the local economy (jobs for artists and technicians, post-production, equipment hire, accommodation, transport, catering etc.). In 2010, total foreign feature-length shooting days increased to 210 days, up from 92 days in 2008. The average number of shooting days per foreign feature-length film increased from six to 14 days over the same period.

“The French cinema industry is unrivalled in Europe and continues to go from strength to strength. The tax rebate for international productions shot in France has strengthened the country's position in the sector since its introduction in 2009. The number of foreign feature-length shooting days has doubled in two years. Every film represents an opportunity to make large foreign audiences more aware of the rich, diverse and attractive heritage of France,” said David Appia, Chairman and CEO of the Invest in France Agency (IFA).

The Invest in France Agency (IFA) is the national agency responsible for promoting and facilitating international investment in France. It also coordinates initiatives to promote France’s economic attractiveness. The IFA network operates worldwide, with offices in France as well as in North and South America, Europe, the Middle East and Asia. In France, the IFA works in partnership with regional development agencies to offer international investors outstanding business opportunities and customized services. For further information, please visit www.investinfrance.org
The Tax Rebate for International Production is administered by the National Centre for Cinema and the Moving Image (www.cnc.fr), with applications assessed by Film France (www.filmfrance.net)