section_path: Culture/Cinema
section_name: Cinema
paragraph_text: Cinema
  
  France has historical and strong links with cinema, with two Frenchmen, Auguste and Louis Lumière (known as the Lumière Brothers) credited with creating cinema in 1895. The world's first female filmmaker, Alice Guy-Blaché, was also from France. Several important cinematic movements, including the late 1950s and 1960s Nouvelle Vague, began in the country. It is noted for having a strong film industry, due in part to protections afforded by the government. France remains a leader in filmmaking, as of 2015 producing more films than any other European country. The nation also hosts the Cannes Festival, one of the most important and famous film festivals in the world.
  
  Apart from its strong and innovative film tradition, France has also been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, Andrzej Żuławski), Argentina (Gaspar Noé, Edgardo Cozarinsky), Russia (Alexandre Alexeieff, Anatole Litvak), Austria (Michael Haneke) and Georgia (Géla Babluani, Otar Iosseliani) are prominent in the ranks of French cinema. Conversely, French directors have had prolific and influential careers in other countries, such as Luc Besson, Jacques Tourneur or Francis Veber in the United States. Although the French film market is dominated by Hollywood, France is the only nation in the world where American films make up the smallest share of total film revenues, at 50%, compared with 77% in Germany and 69% in Japan. French films account for 35% of the total film revenues of France, which is the highest percentage of national film revenues in the developed world outside the United States, compared to 14% in Spain and 8% in the UK. In 2013 France was the second greatest exporter of films in the world, after the United States.
  
  As part of its advocacy of cultural exception, a political concept of treating culture differently from other commercial products, France succeeded in convincing all EU members to refuse to include culture and audiovisuals in the list of liberalised sectors of the WTO in 1993. Moreover, this decision was confirmed in a vote by UNESCO in 2005: the principle of "cultural exception" won an overwhelming victory with 198 countries voting for it and only 2 countries, the United States and Israel, voting against it.