WEEK 10 THE DEATH OF FRENCH CULTURE

France is not just a country, it is a cultural mission with

literature, cinema, music, philosophy, and art represents the heart of what it means to be French

French cultural production remains abundant, France is struggling with a

loss of global influence, a deep historical anxiety about decline, and the challenge of adjusting to a globalized, multicultural cultural future

France treats culture as a

national priority

Each year, the cultural season (la rentrée) launches

hundreds of new novels, music albums, major exhibitions, and dozens of films.

Literary prizes like the Prix Goncourt are

national events, widely covered in the press

Cultural output is enormous,

727 novels published in a single year—and the State invests heavily through subsidies, quotas, and tax breaks

True or false Radio must play 40% French music

true

TV channels must invest in

French cinema

culture is not entertainment it is a

national identity and a market of political prestige

cultural pride create a paradox meaning

france produces alot but exports little

In “The Death of French Culture,” Morrison argues that

France no longer leads global culture the way it once did

Literature: Abundant but not internationally successful meaning

French literature historically dominated Europe and holds the most Nobel Prizes in literature. Today, fewer than a dozen French books reach a U.S. audience each year. Many modern novels focus on autofiction, introspection, and abstract styles rooted in the nouveau roman, which are less accessible to global readers who prefer plot-driven storytelling.

Cinema: High production, low global visibility meaning

France makes around 200 films a year but few gain international traction. French movies are often seen as overly talky, intellectual, or slow. American films dominate 50% of the French box office, and the biggest “French hit,” Ratatouille, was made by Pixar—not France

Art: Paris no longer at the center meaning

Modern art markets are driven by London, New York, and global buyers. France holds only 8% of global contemporary art sales, while the U.S. holds 50%. French art prices remain far lower than major Anglo-American works.

Music: Strong domestically, weak globally meaning

Although France has a large domestic music market, its artists rarely achieve international fame compared to the giants of past generations like Piaf or Aznavour.

Morrison concludes that France is

culturally busy but globally quiet

Causes of cultural decline according to morrison are

• language barriers

• subsidy culture

• market isolation

• intellectual style

• suspicion of commercial success

language barrier

French is the 12th most spoken language globally, while English dominates global culture, media, and publishing. This makes French cultural output less accessible internationally.

Subsidy Culture

Massive state subsidies protect French artists but also shield mediocrity, reduce competition, and discourage private investment. Producers can survive without appealing to global audiences, creating insular cultural ecosystems.

Market Isolation

Quotas and protectionist policies limit foreign competition but also reduce innovation. Isolation prevents French cultural industries from adapting to global tastes.

Intellectual Style

French education emphasizes theory, abstraction, and philosophical depth. While intellectually impressive, this style often feels inaccessible internationally, making French books and films hard to export.

Suspicion of Commercial Success

In France, commercial success is often viewed as “selling out.” In the U.S., success is proof of quality. This mindset discourages French creators from embracing mass appeal.

President Nicolas Sarkozy attempted to “modernize” French culture by

• increasing the cultural budget

• promoting arts education

• encouraging more global influence

• proposing free museum admission

But many unions, intellectuals, and cultural leaders pushed back because they worried France would become too much like the U.S., where culture depends on the market. This showed a bigger problem: France wants to stay important globally, but it also doesn’t want to follow global cultural trends.

Antoine Compagnon’s chapter “The Trappings of Greatness” argues that

French culture isn’t dying—France is suffering from the burden of its own past glory.

France compares itself to its Golden Age

France once dominated world culture (Descartes, Enlightenment, classical theatre, 19th-century novels). By comparing the present to this idealized past, France constantly feels like it is declining

The Trap of Greatness

France's cultural prestige has become a weight. People expect constant brilliance and global leadership, which is impossible in today’s globalized world.

Morrison is partly right..

Compagnon agrees France no longer leads global culture and that much French culture is self-referential or intellectual.

Morrison oversimplifies

France still produces strong culture—just not in the same form as before. The problem is not cultural death, but emotional resistance to a new global reality

Culture today is diverse, modern, and globalized

France’s cultural future lies in immigrant voices, graphic novels, diverse cinema, and global connections—not in repeating the past.

The New Wave of French Creativity is shown through

• film

• literature

• graphic novels

• music

New Wave of Film

French filmmakers are moving away from slow, talky films and creating movies that mix comedy, action, and real-life themes, making them more globally relatable

New Wave of Literature

Writers like Yasmina Reza and Olivier Adam focus on politics, immigration, and contemporary life, bringing real-world relevance to French fiction.

New Wave of Graphic Novels

France leads Europe in graphic novels. Marjane Satrapi’s Persepolis, created by an Iranian-French artist, earned international praise and an Oscar nomination, proving the power of multicultural voices

New Wave of Music

immigrant and minority musicians—MC Solaar, Diam’s, Abd Al Malik—revitalize French music by blending global rhythms with French lyrics.

This diverse creativity suggests that

France’s cultural future is hybrid and multicultural

How does Morrison “compensate” for the limits of his TIME article in his longer piece?

In his longer essay “The Death of French Culture?” Morrison admits his short TIME article could not capture the complexity of France’s cultural situation, so he expands the discussion in several important ways. First, he adds data, examples, and nuance that he did not have space for originally—such as the strong global performance of French architects, the international success of some French music groups, and France’s leading role in graphic novels. Second, he acknowledges what he left out the first time, including the fact that box office numbers do not equal cultural quality, and that some French cultural fields remain vibrant even if they lack worldwide visibility. Third, he shifts the tone from shock-value rhetoric to analysis and explanation, examining structural issues like over-subsidization, language barriers, and the global dominance of English-speaking markets. Finally, he uses the longer format to propose possibilities for renewal, arguing that French culture can regain vitality if it gives more space to innovation and reduces excessive state control. In doing so, he turns the controversy into a serious debate about decline, causes, and paths toward revival.

What evidence shows Morrison’s article was about “decline and redemption,” not death?

Morrison insists he never meant to declare French culture “dead,” but rather to highlight its decline and potential for recovery. The PDF provides several examples supporting this claim. He repeatedly notes that France still produces a tremendous amount of culture—hundreds of novels, dozens of films, award-winning music, and world-class museums—which contradicts the idea of total “death.” He also points to signs of vitality, especially among younger, multicultural creators: graphic novelists like Marjane Satrapi, filmmakers addressing contemporary issues, and new music scenes shaped by immigrant communities. Morrison states explicitly that if he rewrote the article, he would include “the success of overseas French architects and music groups,” acknowledging that he overlooked strong areas of French creativity. Most importantly, he argues that French culture could thrive again if the government reduced excessive interference and encouraged artistic risk-taking. These points show that his real argument is not about disappearance, but about a culture weighed down by its past greatness and in need of renewal—not burial.

What does Compagnon mean when he says, “the real death of French culture will be when the world stops loving to hate France”?

Compagnon means that France’s global cultural relevance is tied to the fact that the world continues to pay attention to France—even when that attention takes the form of criticism, mockery, or complaints about French arrogance. To him, the worst-case scenario is not that people criticize French culture, but that the world becomes indifferent to it. As long as people debate France—its food, cinema, elitism, intellectual style, or politics—they are still engaging with its cultural identity. Compagnon uses examples showing how France remains symbolically powerful: global reactions to French cultural policies, stereotypes about French intellectuals, and international fascination with “French style” (cuisine, fashion, philosophy). Even Morrison’s controversial article proves Compagnon’s point—the world responded passionately because French culture still matters. Compagnon argues that indifference, not criticism, would signal true cultural death. As long as France inspires strong reactions—positive or negative—it remains a meaningful cultural force.