In the early 1950s French diplomats pondered over how much space to grant to forms of popular culture within French cultural diplomacy in Britain, which had largely relied on academic culture over the previous decades. The debate over what forms of culture were suitable for a British audience intensified over the role that should be given to cinema. This article argues that the democratization of cultural diplomacy in the postwar period did not follow the same rationale as the processes of democratization taking place in mainland France at the same time. For diplomats in Britain organizing film screenings and participative encounters around the French language and arts, the aim was not to build a more equal and open society, but rather to ensure that as broad an audience as possible understood the values of France and its significance for Britain and the world.

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“Le cinéma n'est que la fiente de la Culture”：协商法国文化在战后英国的地位和内容

20 世纪 50 年代初，法国外交官思考在法国对英文化外交中应给予流行文化多大的空间，而在过去的几十年里，法国文化外交很大程度上依赖于学术文化。关于什么形式的文化适合英国观众的争论加剧了电影应扮演的角色。本文认为，战后文化外交的民主化进程与同时期法国本土的民主化进程并不遵循同样的逻辑。对于驻英国的外交官来说，围绕法语和艺术组织电影放映和参与性活动，目的不是建立一个更加平等和开放的社会，而是确保尽可能广泛的观众了解法国的价值观及其对法国的重要性。英国和世界。