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Cannes Film Festival
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Cannes Film Festival
Location
Cannes, France
Founded
20 September 1946; 71 years ago (1946-09-20) (as International Film Festival)
Awards
Palme d'Or, Grand Prix
Website
www.festival-cannes.com
Cannes seen from Le Suquet
The Cannes Festival (/kæn/; French: Festival de Cannes), named until 2002 as the International Film Festival (Festival international du film) and known in English as the Cannes Film Festival, is an annual film festival held in Cannes, France, which previews new films of all genres, including documentaries, from all around the world. Founded in 1946, the invitation-only festival is held annually (usually in May) at the Palais des Festivals et des Congrès.[1]
On 1 July 2014, co-founder and former head of French pay-TV operator Canal+, Pierre Lescure, took over as President of the Festival, while Thierry Fremaux became the General Delegate. The board of directors also appointed Gilles Jacob as Honorary President of the Festival.[2][3]
The 2017 Cannes Film Festival, its 70th anniversary, took place between 17 and 29 May 2017. The jury president was Pedro Almodóvar, and The Square, directed by Ruben Östlund, won the Palme d'Or.[4]
Contents
[hide]
1 History
1.1 The early years
1.2 1950s and 1960s
1.3 1970s and 1980s
1.4 1990s to the present
2 Programmes
3 Authorities of the Festival
4 Juries
5 Awards
6 Impact
7 See also
8 References
9 Further reading
10 Media
11 External links
History[edit]
The early years[edit]
The Cannes Film Festival has its origins in 1932 when Jean Zay, the French Minister of National Education, on the proposal of historian Philippe Erlanger and with the support of the British and Americans, set up an international cinematographic festival. Its origins may be attributed in part to the French desire to compete with the Venice Film Festival, which at the time was shocking the democratic world by its fascist bias.[5] The first festival was planned for 1939, Cannes was selected as the location for it, but the funding and organization were too slow and finally the beginning of World War II put an end to this plan.[6]
On 20 September 1946, twenty-one countries presented their films at the First Cannes International Film Festival, which took place at the former Casino of Cannes.[7] In 1947, amid serious problems of efficiency, the festival was held as the "Festival du film de Cannes", where films from sixteen countries were presented. The festival was not held in 1948 and 1950 on account of budgetary problems. In 1949, the Palais des Festivals was expressly constructed for the occasion on the seafront promenade of La Croisette, although its inaugural roof, while still unfinished, blew off during a storm. In 1951, the festival was moved to spring to avoid a direct competition with the Venice Festival which was held in autumn.[6]
1950s and 1960s[edit]
During the early 1950s, the festival attracted a lot of tourism and press attention, with showbiz scandals and high-profile personalities' love affairs. At the same time, the artistic aspect of the festival started developing. Because of controversies over the selection of films, the Critics' Prize was created for the recognition of original films and daring filmmakers. In 1954, the Special Jury Prize was awarded for the first time. In 1955, the Palme d'Or was created, replacing the Grand Prix du Festival which had been given until that year. In 1957, Dolores del Río was the first female member of the jury for the official selection.[8]
In 1959, the Marché du Film (Film Market) was founded, giving the festival a commercial character and facilitating exchanges between sellers and buyers in the film industry. Today it has become the first international platform for film commerce. Still, in the 1950s, some outstanding films, like Night and Fog in 1956 and Hiroshima, My Love in 1959 were excluded from the competition for diplomatic concerns. Jean Cocteau, three times president of the jury in those years, is quoted to have said: "The Cannes Festival should be a no man's land in which politics has no place. It should be a simple meeting between friends."[9][10]
In 1962, the International Critics' Week was born, created by the French Union of Film Critics as the first parallel section of the Cannes Film Festival. Its goal was to showcase first and second works by directors from all over the world, not succumbing to commercial tendencies. In 1965, an hommage was paid to Jean Cocteau after his death, and he was named Honorary President for life[citation needed]. That year Olivia de Havilland was named the first female president of the jury, while the next year Sofia Loren became president.[11]
The 1968 festival was halted on 19 May. Some directors, such as Carlos Saura and Miloš Forman, had withdrawn their films from the competition. On 18 May filmmaker Louis Malle along with a group of directors took over the large room of the Palais and interrupted the projections in solidarity with students and labour on strike throughout France,[12] and in protest to the eviction of the then President of the Cinémathèque Française. The filmmakers achieved the reinstatement of the President, and they founded the Film Directors' Society (SRF) that same year.[13] In 1969 the SRF, led by Pierre-Henri Deleau created the Directors' Fortnight (Quinzaine des Réalisateurs), a new non-competitive section that programs a selection of films from around the world, distinguished by the independent judgment displayed in the choice of films.[14]
1970s and 1980s[edit]
During the 1970s, important changes occurred in the Festival. In 1972, Robert Favre Le Bret was named the new President, and Maurice Bessy the General Delegate. He introduced important changes in the selection of the participating films, welcoming new techniques, and relieving the selection from diplomatic pressures, with films like MASH, and later Chronicle of the Years of Fire marking this turn. In some cases, these changes helped directors like Tarkovski overcome problems of censorship in their own country.[15] Also, until that time, the different countries chose the films that would represent them in the festival. Yet, in 1972, Bessy created a committee to select French films, and another for foreign films.[16]
In 1978, Gilles Jacob assumed the position of General Delegate, introducing the Caméra d'Or award, for the best first film of any of the main events, and the Un Certain Regard section, for the non-competitive categories. Other changes were the decrease of length of the festival down to thirteen days, thus reducing the number of selected films; also, until that point the Jury was composed by Film Academics, and Jacob started to introduce celebrities and professionals from the film industry.[17]
In 1983, a new, much bigger Palais des Festivals et des Congrès was built to host the festival, while the Directors' Fortnight remained in the old building. The new building was nicknamed "The Bunker", provoking a lot of criticism, especially since it was hardly finished at the event and several technical problems occurred.[18] In 1984 Pierre Viot replaced Robert Favre Le Bret as President of the Festival.[19] In his term, the Festival started including films from more countries, like Philippines, China, Cuba, Australia, India, New Zealand and Argentina. In 1987, for the first time of the Festival, a red carpet was placed at the entrance of the Palais. In 1989, during the first Cinéma & liberté forum, hundred directors from many countries signed a declaration "against all forms of censorship still existing in the world".[20]
Stars posing for photographers are a part of Cannes folklore.
1990s to the present[edit]
American actress Kim Novak (2013)
In 1998, Gilles Jacob created the last section of the Official Selection: la Cinéfondation, aiming to support the creation of works of cinema in the world and to contribute to the entry of the new scenario writers in the circle of the celebrities.[21] The Cinéfondation was completed in 2000 with La Résidence, where young directors could refine their writing and screenplays, and in 2005 L'Atelier, which helps twenty directors per year with the funding of their films. Gilles Jacob was appointed Honorary President in 2000, and in 2002, the Festival officially adopted the name Festival de Cannes.[22][23]
During the 2000s, the Festival started focusing more on the technological advances taking place in the film world, especially the digital techniques. In 2004 the restored historical films of the Festival were presented as Cannes Classics, which included documentaries. In 2007 Thierry Frémaux became General Delegate. In 2009 he extended the Festival in Buenos Aires, as La Semana de Cine del Festival de Cannes, and in 2010 he created the Cannes Court Métrage for the Short Film competition.
Festival Director Thierry Fremaux is known to have ‘banned’ selfies on the Red Carpet of the world’s largest Film Festival back in 2015. [24] In 2017, along with the 70th anniversary events of the Festival, the issue of changing the rules on theatrical screening caused controversy.[25] The enforcement of theatrical screening in 2018 resulted in Netflix being banned.[26]
Programmes[edit]
The Cannes Film Festival is organised in various sections:[27]
The Official Selection – The main event of the festival.
In Competition – The twenty films competing for the Palme d'Or. They are projected in the Théâtre Lumière.
Un Certain Regard – Twenty films selected from cultures near and far; original and different works. They are projected at the Salle Debussy.
Out of Competition – These films are also projected in the Théâtre Lumière but do not compete for the main prize.
Special Screenings – The selection committee chooses for these films an environment specially adapted to their particular identity.
Cinéfondation – About fifteen shorts and medium-length motion pictures from film schools over the world are presented at the Salle Buñuel.
Short Films – The shorts competing for the Short Film Palme d'Or are presented at Buñuel and Debussy theatres. There are approximately 10 films in this competition.
Cannes Classics – It celebrates the heritage of film, aiming to highlight works of the past, presented with brand new or restored prints.
Cinéma de la Plage – Screening of Cannes Classics and Out of Competition films for the mass public on Macé beach, preceded by a programme dedicated to film music.
Parallel Sections – These are non-competitive programmes dedicated to discovering other aspects of cinema.
International Critics' Week – From 1962, it focuses on discovering new talents and showcases first and second feature films by directors from all over the world.
Directors' Fortnight – From 1969, it cast its lot with the avant-garde, even as it created a breeding ground where the Cannes Festival would regularly find its prestigious auteurs.
Tous les Cinémas du Monde – It showcases the vitality and diversity of cinema across the world. Each day, one country is invited to present a range of features and shorts in celebration of its unique culture, identity and recent film works.
Caméra d'Or – It rewards the best first film of the Festival, choosing among the debutants' works among the Official Selection, the Directors' Fortnight and the International Critics' Week selections.
Other Sections – Produced by outside organisations during the Cannes Festival.
ACID (Association for Independent Cinema and its Distribution)
Events
Marché du Film – The busiest movie market in the world.
Masterclasses – Given in public by world-renowned filmmakers.
Tributes – Honors internationally renowned artists with the presentation of the Festival Trophee following the screening of one of their films.
Producers Network – An opportunity to make international co-productions.
Exhibitions – Each year, an artist, a body of work or a cinematographic theme becomes the focus of an exhibition that diversifies or illustrates the event's programme.
60th Anniversary – Events organised in 2007 dedicated to the 60th anniversary of the Festival.
Authorities of the Festival[edit]
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Year
President
General Delegate
Gen. Secretary
1949 – – Jean Touzet
1952 Robert Favre Le Bret
1972 Robert
Favre Le Bret Maurice Bessy
1978 Gilles Jacob
1984 Pierre Viot
1985 Michel P. Bonnet
1991 François
Erlenbach
2001 Gilles Jacob General Director
Véronique Cayla Artistic Delegate
Thierry Frémaux
2005 Catherine Démier
2007 Thierry Frémaux
2014 Pierre Lescure
2017
The President of the Festival, who represents the Festival in front of its financial partners, the public authorities and the media, is elected by the board of directors of the Festival, officially named the "French Association of the Film Festival". The Board is composed of authorities of the world of cinema, as well as of public authorities which subsidize the event. The President has a renewable 3-year mandate and appoints the members of his team, including the General Delegate, with the approval of the board of directors.[28] Sometimes a President, after his last term, becomes the Honorary President of the Festival.
The General Delegate is responsible for the coordination of the events. When Gilles Jacob passed from General Delegate to the position of the President, in 2001, two new positions were created to take over his former post, the General Director to oversee the smooth running of the event, and the Artistic Director, responsible for the selection of films. However, in 2007, the Artistic Director Thierry Fremaux, became again the General Delegate of the Festival.
The general secretary is responsible for the reception of works and other practical matters.
Juries[edit]
Main article: List of Cannes Film Festival juries (Feature films)
Prior to the beginning of each event, the Festival's board of directors appoints the juries who hold sole responsibility for choosing which films will receive a Cannes award. Jurors are chosen from a wide range of international artists, based on their body of work and respect from their peers.[29] The appointment of the President of the Jury is made following several annual management proposals made in the fall and submitted to the Festival's board of directors for validation.[30]
Feature Films – An international jury composed of a President and various film or art personalities, who determine the prizes for the feature films in Competition.
Cinéfondation and Short Films – Composed of a President and four film personalities. It awards the Short Film Palme d'Or as well as the three best films of the Cinéfondation.
Un Certain Regard – Composed of a President, journalists, students in cinema, and industry professionals. It awards the Un Certain Regard Prize for best film and can, moreover, honour two other films.
Caméra d'Or – Composed of a President, as well as film directors, technicians, and French and international critics. They award the best film in any category.
The jury meets annually at the historic Villa Domergue to select the winners.[31]
Awards[edit]
Palme d'Or awarded to Apocalypse Now at the 1979 Cannes Film Festival
In 2013, Adèle Exarchopoulos and Léa Seydoux became the first and only cast members to receive the Palme d'Or for Blue Is the Warmest Colour in an "unprecedented move", alongside the director Abdellatif Kechiche.
The most prestigious award given at Cannes is the Palme d'Or ("Golden Palm") for the best film.
Competition
Palme d'Or – Golden Palm
Grand Prix – Grand Prize of the Festival
Prix du Jury – Jury Prize
Palme d'Or du court métrage – Best Short Film
Prix d'interprétation féminine – Best Actress
Prix d'interprétation masculine – Best Actor
Prix de la mise en scène – Best Director
Prix du scénario – Best Screenplay
Other Sections
Prix Un Certain Regard – Young talent, innovative and audacious works
Cinéfondation prizes – Student films
Caméra d'Or – Best first feature film
Given by Independent Entities
Prix de la FIPRESCI – International Federation of Film Critics Prize
Directors' Fortnight Prizes
Prix Vulcain – Awarded to a technical artist by the CST
International Critics' Week Prizes
Prize of the Ecumenical Jury
François Chalais Prize
L'Œil d'or – Best documentary film
Trophée Chopard
Palm Dog, for best canine performance.[32]
Queer Palm, for LGBT-related films.[33]
Impact[edit]
The festival has become an important showcase for European films. Jill Forbes and Sarah Street argue in European Cinema: An Introduction (ISBN 0333752104), that Cannes "became...extremely important for critical and commercial interests and for European attempts to sell films on the basis of their artistic quality" (page 20).[34] Forbes and Street also point out that, along with other festivals such as the Venice Film Festival and Berlin International Film Festival, Cannes offers an opportunity to determine a particular country's image of its cinema and generally foster the notion that European cinema is "art" cinema.[34]
Additionally, given massive media exposure, the non-public festival is attended by many movie stars and is a popular venue for film producers to launch their new films and to attempt to sell their works to the distributors who come from all over the globe.
See also[edit]
France portal
Film portal
Cannes Lions International Advertising Festival
Directors' Fortnight
International Critics' Week
List of Cannes Film Festival jury presidents
List of Cannes Film Festival juries (Feature films)
Marché du Film
References[edit]
Jump up ^ "Presentation of the Palais". palaisdesfestivals.com. Retrieved 31 May 2017.
Jump up ^ "Cannes Film Festival Names Pierre Lescure President". The Hollywood Reporter. Retrieved 14 January 2014.
Jump up ^ "Pierre Lescure elected President of the Festival de Cannes". Festival de Cannes. Archived from the original on 26 March 2016. Retrieved 28 March 2015.
Jump up ^ "Cannes 2017: Ruben Östlund's The Square wins the Palme d'Or". theguardian.com. Retrieved 31 May 2017.
Jump up ^ "First Cannes Film Festival". history.com. Archived from the original on 27 December 2013.
^ Jump up to: a b "1938–1951: The birth of the Festival". fresques.ina.fr. Retrieved 28 May 2017.
Jump up ^ "1st Cannes Film Festival". Archived from the original on 20 October 2013. Retrieved 20 October 2013.
Jump up ^ "Honoring the Female Trailblazers of Cannes /2. Dolores del Río". harpersbazaar.com. Retrieved 31 May 2017.
Jump up ^ "Festival de Cannes – Festival History". festival-cannes.fr. Archived from the original on 14 May 2007.
Jump up ^ "1952–1959: Celebrities, politics and the film world". fresques.ina.fr. Retrieved 28 May 2017.
Jump up ^ "1960–1968: The growing legitimacy of cinema and a world of new horizons". fresques.ina.fr. Retrieved 28 May 2017.
Jump up ^ "1968 Cannes Festival". cannes-fest.com. Retrieved 28 May 2017.
Jump up ^ "The Fortnight in action". quinzaine-realisateurs.com. Retrieved 28 May 2017.
Jump up ^ "Directors' Fortnight". Directors' Fortnight website. Retrieved 27 May 2017.
Jump up ^ "1969–1977: A Festival that moves with the times". fresques.ina.fr. Retrieved 30 May 2017.
Jump up ^ "1972 – Tout le monde il est beau, tout le monde il est gentil". cannes-fest.com. Retrieved 28 May 2017.
Jump up ^ "1978 – Cannes, Le Retour". Cannes-fest.com. Retrieved 28 May 2017.
Jump up ^ "1983 – Le Festival blessé". Cannes-fest.com archive. Retrieved 28 May 2017.
Jump up ^ "1978–1986: A wind of change". fresques.ina.fr. Retrieved 28 May 2017.
Jump up ^ "The History of the Festival / The 80s: The Modern Era". festival-cannes.com. Retrieved 31 May 2017.
Jump up ^ "Presentation". Cinéfondation. Retrieved 28 May 2017.
Jump up ^ "1987–1996: The first Palme d'Or for a woman director". fresques.ina.fr. Retrieved 28 May 2017.
Jump up ^ "1997-today: The Festival enters a new century". fresques.ina.fr. Retrieved 28 May 2017.
Jump up ^ "'I am so Pathetic: I Took a Selfie at the Red Carpet' at the Cannes Film Festival=Ikon London Magazine". Retrieved 2017-05-17.
Jump up ^ "Netflix Defends Strategy at Cannes: 'The Culture Is Changing'". nytimes.com. Retrieved 31 May 2017.
Jump up ^ Chiu, Allyson (26 March 2018). "Cannes Film Festival bans Netflix films from competition. Also, no more selfies". The Washington Post. Retrieved 12 April 2018.
Jump up ^ "Festival de Cannes – Official Site". Retrieved 28 May 2017.
Jump up ^ "Pierre Lescure officiellement à la tête du Festival de Cannes". LeMond.fr (in French). Retrieved 30 May 2017. Le président du Festival de Cannes est élu par le conseil d'administration de l'Association française du Festival international du film. Cette instance compte vingt-huit membres et repose sur un subtil équilibre entre le monde du cinéma et les pouvoirs publics, qui subventionnent l'événement.
Jump up ^ "Festival de Cannes: Juries". festival-cannes.com. Archived from the original on 27 September 2007.
Jump up ^ "Festival de Cannes: Juries". festival-cannes.com. Archived from the original on 18 April 2015.
Jump up ^ "Patrimoine: Villa Domergue". Site officiel de la Ville de Cannes. Retrieved 6 July 2017.
Jump up ^ "Pixar pooch picks Up Cannes prize". BBC News. 22 May 2009. Retrieved 27 May 2009.
Jump up ^ "Transgender activist Pascale Ourbih on Cannes gay prize jury". On Top Magazine. 10 May 2010. Retrieved 28 May 2017.
^ Jump up to: a b Forbes, Jill; Street, Sarah (2001). European Cinema: An Introduction. London: Macmillan Publishers. ISBN 0-333-75210-4.
Further reading[edit]
Coyle, Jake (10 May 2017). "Outcry over Netflix films prompts Cannes to change rules". CBC/Radio-Canada.
Ford, Rebecca; Roxborough, Scott (17 May 2017). "Why Awards Hopefuls Are Losing Confidence in Cannes Debuts". The Hollywood Reporter.
Mumford, Gwilym (17 May 2017). "Concrete flowerpots and drone killers: Cannes opens with beefed-up security". The Guardian.
Books
Bart, Peter; The Editors of Variety (1997). Cannes: Fifty Years of Sun, Sex & Celluloid: Behind the Scenes at the World's Most Famous Film Festival. Miramax Books. ISBN 978-0786882953.
Beauchamp, Cari; Behar, Henri (1992). Hollywood on the Riviera: The Inside Story of the Cannes Film Festival. William Morrow and Company. ISBN 978-0688110079.
Craig, Benjamin (2012). Cannes: A Festival Virgin's Guide (6 ed.). Cinemagine Media Publishing. ISBN 978-0954173760.
Jungen, Christian (2015). Hollywood in Canne$: The History of a Love-Hate Relationship (Film Culture in Transition). Amsterdam University Press. ISBN 978-9089645661.
Media[edit]
Footage from the 1946 Cannes Film Festival
Retrospective footage of the Festival presented by INA in 2007
External links[edit]
Wikimedia Commons has media related to Cannes Film Festival.
Cannes Film Festival official website (in English)
Cannes Film Festival at the Internet Movie Database
The History of the Festival at the official website
Festival de Cannes at the official website of tourism in France 2017 (in French)
Radio France Internationale coverage of the Cannes Film Festival 2017 (in English)
Cannes Film Festival unofficial blog
Cannes – A Festival Virgin's Guide – Detailed festival history and information for attendees
Cannes Film Festival: A Potted History
Cannes Film Festival at Curlie (based on DMOZ)
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Cannes Film Festival
Awards
Palme d'Or
Grand Prix
Best Director Award
Best Actor Award
Best Actress Award
Best Screenplay Award
Jury Prize
Short Film Palme d'Or
Un Certain Regard
Cinéfondation
Caméra d'Or
Awards given
by independent entities
Prix de la FIPRESCI
François Chalais Prize
Trophée Chopard
Vulcan Award
L'Œil d'or
France 4 Visionary Award
Prize of the Ecumenical Jury
Palm Dog Award
Queer Palm
Cannes Soundtrack Award
By year
1946
1947
1948
1949
1950
1951
1952
1953
1954
1955
1956
1957
1958
1959
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
Directors' Fortnight
International Critics' Week
Marché du Film
List of jury presidents
List of jury members
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Palme d'Or winning films
Union Pacific (1939)
Torment (Hets) (1946)
The Lost Weekend (1946)
The Red Meadows (1946)
Brief Encounter (1946)
María Candelaria (1946)
Neecha Nagar (1946)
The Turning Point (1946)
La Symphonie pastorale (1946)
The Last Chance (1946)
Men Without Wings (1946)
Rome, Open City (1946)
The Third Man (1949)
Miss Julie (1951)
Miracle in Milan (1951)
The Tragedy of Othello: The Moor of Venice (1951)
Two Cents Worth of Hope (1952)
The Wages of Fear (1953)
Gate of Hell (1954)
Marty (1955)
The Silent World (1956)
Friendly Persuasion (1957)
The Cranes Are Flying (1958)
Black Orpheus (1959)
La Dolce Vita (1960)
The Long Absence (1961)
Viridiana (1961)
O Pagador de Promessas (1962)
The Leopard (1963)
The Umbrellas of Cherbourg (1964)
The Knack ...and How to Get It (1965)
A Man and a Woman (1966)
The Birds, the Bees and the Italians (1966)
Blowup (1967)
if.... (1969)
MASH (1970)
The Go-Between (1971)
The Working Class Goes to Heaven (1972)
The Mattei Affair (1972)
The Hireling (1973)
Scarecrow (1973)
The Conversation (1974)
Chronicle of the Years of Fire (1975)
Taxi Driver (1976)
Padre Padrone (1977)
The Tree of Wooden Clogs (1978)
Apocalypse Now (1979)
The Tin Drum (1979)
All That Jazz (1980)
Kagemusha (1980)
Man of Iron (1981)
Missing (1982)
Yol (1982)
The Ballad of Narayama (1983)
Paris, Texas (1984)
When Father Was Away on Business (1985)
The Mission (1986)
Under the Sun of Satan (1987)
Pelle the Conqueror (1988)
Sex, Lies, and Videotape (1989)
Wild at Heart (1990)
Barton Fink (1991)
The Best Intentions (1992)
Farewell My Concubine (1993)
The Piano (1993)
Pulp Fiction (1994)
Underground (1995)
Secrets & Lies (1996)
Taste of Cherry (1997)
The Eel (1997)
Eternity and a Day (1998)
Rosetta (1999)
Dancer in the Dark (2000)
The Son's Room (2001)
The Pianist (2002)
Elephant (2003)
Fahrenheit 9/11 (2004)
The Child (2005)
The Wind That Shakes the Barley (2006)
4 Months, 3 Weeks and 2 Days (2007)
The Class (2008)
The White Ribbon (2009)
Uncle Boonmee Who Can Recall His Past Lives (2010)
The Tree of Life (2011)
Amour (2012)
Blue Is the Warmest Colour (2013)
Winter Sleep (2014)
Dheepan (2015)
I, Daniel Blake (2016)
The Square (2017)
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Short Film Palme d'Or Winners
1950s
White Mane – Albert Lamorisse (1953)
Blinkity Blank – Norman McLaren (1955)
The Red Balloon – Albert Lamorisse (1956)
Courte Histoire – Ion Popescu-Gopo (1957)
N.Y., N.Y. – Francis Thompson (1959)
Zmiana warty – Halina Bielinska and Wlodzimierz Haupe (1959)
1960s
La Petite cuillère – Carlos Vilardebo (1961)
La Rivière du hibou – Robert Enrico (1961)
À fleur d'eau – Alexander J. Seiler and Rob Gnant (1963)
Le Haricot – Edmond Séchan (1963)
Nyitany – János Vadász (1965)
Skaterdater – Noel Black (1966)
Sky Over Holland – John Fernhout (1967)
Cîntecele Renasterii – Mirel Iliesiu (1969)
1970s
Magic Machines – Bob Curtis (1970)
Le Fusil à lunette – Jean Chapot (1972)
Balablok – Bretislav Pojar (1973)
Ostrov – Fedor Khitrouk, Edouard Nazarov and Vladimir Zouïkov (1974)
Lautrec – Geoff Dunbar (1975)
Metamorphosis – Barry Greenwald (1976)
The Struggle – Marcell Jankovics (1977)
Rowing Across the Atlantic – Jean-François Laguionie (1978)
Harpya – Raoul Servais (1979)
1980s
Seaside Woman – Oscar Grillo (1980)
Moto perpetuo – Béla Vajda (1981)
Merlin ou le cours de l'or – Arthur Joffé (1982)
Je sais que j'ai tort mais demandez à mes copains ils disent la même chose – Pierre Levy (1983)
Le Cheval de fer – Gérald Frydman and Pierre Levie (1984)
Chiri – David Takaichvili (1984)
Jenitba – Slav Bakalov and Rumen Petkov (1985)
An Exercise in Discipline - Peel – Jane Campion (1986)
Palisade – Laurie McInnes (1987)
Vykrutasy – Garry Bardin (1988)
50 ans – Gilles Carle (1989)
1990s
The Lunch Date – Adam Davidson (1990)
Z podniesionymi rekami – Mitko Panov (1991)
Omnibus – Sam Karmann (1992)
Coffee and Cigarettes: Somewhere in California – Jim Jarmusch (1993)
El héroe– Carlos Carrera (1994)
Gagarin– Alexij Kharitidi (1995)
Szél– Marcell Iványi (1996)
...Is It the Design on the Wrapper? – Tessa Sheridan (1997)
L'Interview – Xavier Giannoli (1998)
When the Day Breaks – Wendy Tilby and Amanda Forbis (1999)
2000s
Anino – Raymond Red (2000)
Bean Cake – David Greenspan (2001)
Esö után – Péter Mészáros (2002)
Cracker Bag – Glendyn Ivin (2003)
Trafic – Catalin Mitulescu (2004)
Podorozhni – Igor Strembitsky (2005)
Sniffer – Bobbie Peers (2006)
Ver Llover – Elisa Miller (2007)
Megatron – Marian Crisan (2008)
Arena – João Salaviza (2009)
2010s
Barking Island – Serge Avédikian (2010)
Cross – Maryna Vroda (2011)
Sessiz-Be Deng – Rezan Yeşilbaş (2012)
Safe – Byoung-gon Moon (2013)
Leidi – Simón Mesa Soto (2014)
Waves '98 – Ely Dagher (2015)
A Gentle Night - Qiu Yang (2017)
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Cannes Film Festival jury presidents
1946–1975
Georges Huisman (1946)
Georges Huisman (1947)
Georges Huisman (1949)
André Maurois (1951)
Maurice Genevoix (1952)
Jean Cocteau (1953)
Jean Cocteau (1954)
Marcel Pagnol (1955)
Maurice Lehmann (1956)
André Maurois (1957)
Marcel Achard (1958)
Marcel Achard (1959)
Georges Simenon (1960)
Jean Giono (1961)
Tetsurō Furukaki (1962)
Armand Salacrou (1963)
Fritz Lang (1964)
Olivia de Havilland (1965)
Sophia Loren (1966)
Alessandro Blasetti (1967)
André Chamson (1968)
Luchino Visconti (1969)
Miguel Ángel Asturias (1970)
Michèle Morgan (1971)
Joseph Losey (1972)
Ingrid Bergman (1973)
René Clair (1974)
Jeanne Moreau (1975)
1975–2000
Tennessee Williams (1976)
Roberto Rossellini (1977)
Alan J. Pakula (1978)
Françoise Sagan (1979)
Kirk Douglas (1980)
Jacques Deray (1981)
Giorgio Strehler (1982)
William Styron (1983)
Dirk Bogarde (1984)
Miloš Forman (1985)
Sydney Pollack (1986)
Yves Montand (1987)
Ettore Scola (1988)
Wim Wenders (1989)
Bernardo Bertolucci (1990)
Roman Polanski (1991)
Gérard Depardieu (1992)
Louis Malle (1993)
Clint Eastwood (1994)
Jeanne Moreau (1995)
Francis Ford Coppola (1996)
Isabelle Adjani (1997)
Martin Scorsese (1998)
David Cronenberg (1999)
Luc Besson (2000)
2001–present
Liv Ullmann (2001)
David Lynch (2002)
Patrice Chéreau (2003)
Quentin Tarantino (2004)
Emir Kusturica (2005)
Wong Kar-wai (2006)
Stephen Frears (2007)
Sean Penn (2008)
Isabelle Huppert (2009)
Tim Burton (2010)
Robert De Niro (2011)
Nanni Moretti (2012)
Steven Spielberg (2013)
Jane Campion (2014)
Joel and Ethan Coen (2015)
George Miller (2016)
Pedro Almodóvar (2017)
Cate Blanchett (2018)
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LCCN: n82052860
GND: 4196849-9
SUDOC: 028867378
NDL: 01024765
Coordinates: 43°33′03.10″N 7°01′02.10″E / 43.5508611°N 7.0172500°E / 43.5508611; 7.0172500
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Egocentrism
From Wikipedia, the free encyclopedia
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Not to be confused with Narcissism.
Egocentrism
Egocentrism is the inability to differentiate between self and other. More specifically, it is the inability to untangle subjective schemas from objective reality; an inability to understand or assume any perspective other than their own.[1][2]
Although egocentrism and narcissism appear similar, they are not the same. A person who is egocentric believes they are the center of attention, like a narcissist, but does not receive gratification by one's own admiration. Both egotists and narcissists are people whose egos are greatly influenced by the approval of others, while for egocentrists this may or may not be true.
Although egocentric behaviors are less prominent in adulthood, the existence of some forms of egocentrism in adulthood indicates that overcoming egocentrism may be a lifelong development that never achieves completion.[3] Adults appear to be less egocentric than children because they are faster to correct from an initially egocentric perspective than children, not because they are less likely to initially adopt an egocentric perspective.[4]
Therefore, egocentrism is found across the life span: in infancy[5] early childhood,[4][6] adolescence,[7] and adulthood.[4][8] It contributes to the human cognitive development by helping children develop theory of mind and self-identity formation.
Contents
[hide]
1 During infancy
2 During childhood
3 During adolescence
4 During adulthood
5 See also
6 References
7 Further reading
8 External links
During infancy[edit]
The main concept infants and young children learn by beginning to show egocentrism is the fact that their thoughts, values, and behaviors are different from those of others, also known as the theory of mind.[9] Initially when children begin to have social interactions with others, mainly the caregivers, they misinterpret that they are one entity, because they are together for a long duration of time and the caregivers often provide for the children's needs. For example, a child may misattribute the act of their mother reaching to retrieve an object that they point to as a sign that they are the same entity, when in fact they are actually separate individuals. As early as 15 months old,[5] children show a mix of egocentrism and theory of mind when an agent acts inconsistently with how the children expect him to behave. In this study the children observed the experimenter place a toy inside one of two boxes, but did not see when the experimenter removed the toy from the original box and placed it in the other box, due to obstruction by a screen. When the screen was removed the children watched the experimenter reach to take the toy out of one of the boxes, yet because the children did not see the switching part, they looked at the experimenter's action much longer when she reached for the box opposite to the one she originally put the toy in. Not only does this show the existence of infants' memory capacity, but it also demonstrates how they have expectations based on their knowledge, as they are surprised when those expectations are not met.
During childhood[edit]
According to George Butterworth and Margaret Harris, during childhood, one is usually unable to distinguish between what is subjective and objective.[10] According to Piaget, "an egocentric child assumes that other people see, hear, and feel exactly the same as the child does."[11][unreliable source?]
Jean Piaget (1896–1980) developed a theory about the development of human intelligence, describing the stages of cognitive development. He claimed that early childhood is the time of pre-operational thought, characterized by children's inability to process logical thought.[12] According to Piaget, one of the main obstacles to logic that children possess includes centration, "the tendency to focus on one aspect of a situation to the exclusion of others."[13] A particular type of centration is egocentrism – literally, "self-centeredness." Piaget claimed that young children are egocentric, capable of contemplating the world only from their personal perspective. For example, a three-year-old presented his mother a model truck as her birthday present; "he had carefully wrapped the present and gave it to his mother with an expression that clearly showed he expected her to love it."[14] The three-year-old boy had not chosen the present out of selfishness or greediness, but he simply failed to realize that, from his mother's perspective, she might not enjoy the model car as much as he would.
Piaget was concerned with two aspects of egocentricity in children: language and morality.[15] He believed that egocentric children use language primarily for communication with oneself. Piaget observed that children would talk to themselves during play, and this egocentric speech was merely the child's thoughts.[16] He believed that this speech had no special function; it was used as a way of accompanying and reinforcing the child's current activity. He theorized that as the child matures cognitively and socially the amount of egocentric speech used would be reduced.[16] However, Vygotsky felt that egocentric speech has more meaning, as it allows the child's growth in social speech and high mental development.[16] In addition to Piaget's theory, he believed that when communicating with others, the child believes that others know everything about the topic of discussion and become frustrated when asked to give further detail.[15]
Piaget also believed that egocentrism affects the child's sense of morality.[15] Due to egocentrism, the child is only concerned with the final outcome of an event rather than another's intentions. For example, if someone breaks the child's toy, the child would not forgive the other and the child wouldn't be able to understand that the person who broke the toy did not intend to break it.[15] This phenomenon can also be backed by the evidence from the findings of the case study by Nelson, who studied the use of motives and outcomes by young children as aiding to form their moral judgements.
Piaget did a test to investigate egocentrism called the mountains study. He put children in front of a simple plaster mountain range and then asked them to pick from four pictures the view that he, Piaget, would see. The younger children before age seven picked the picture of the view they themselves saw and were therefore found to lack the ability to appreciate a viewpoint different from their own. In other words, their way of reasoning was egocentric. Only when entering the concrete-operational stage of development at age seven to twelve, children became less egocentric and could appreciate viewpoints other than their own. In other words, they were capable of cognitive perspective-taking. However, the mountains test has been criticized for judging only the child's visuo-spatial awareness, rather than egocentrism. A follow up study involving police dolls showed that even young children were able to correctly say what the interviewer would see.[17] It is thought that Piaget overestimated the extent of egocentrism in children. Egocentrism is thus the child's inability to see other people's viewpoints, not to be confused with selfishness. The child at this stage of cognitive development assumes that their view of the world is the same as other peoples.
In addition, a more well-known experiment by Wimmer and Perner (1983) called the false-belief task demonstrates how children show their acquisition of theory of mind (ToM) as early as 4 years old.[6] In this task, children see a scenario where one character hides a marble in a basket, walks out of the scene, and another character that is present takes out the marble and put it in a box. Knowing that the first character did not see the switching task, children were asked to predict where the first character would look to find the marble. The results show that children younger than 4 answer that the character would look inside the box, because they have the superior knowledge of where the marble actually is. It shows egocentric thinking in early childhood because they thought that even if the character itself did not see the entire scenario, it has the same amount of knowledge as oneself and therefore should look inside the box to find the marble. As children start to acquire ToM, their ability to recognize and process others' beliefs and values overrides the natural tendency to be egocentric.
During adolescence[edit]
Although most of the research completed on the study of egocentrism is primarily focused on early childhood development, it has been found to also occur during adolescence.[18] David Elkind was one of the first to discover the presence of egocentrism in adolescence and late adolescence. He argues, "the young adolescent, because of the physiological metamorphosis he is undergoing, is primarily concerned with himself. Accordingly, since he fails to differentiate between what others are thinking about and his own mental preoccupations, he assumes that other people are obsessed with his behavior and appearance as he is himself."[19] This shows that the adolescent is exhibiting egocentrism, by struggling to distinguish whether or not, in actuality, others are as fond of them as they might think because their own thoughts are so prevalent. Adolescents consider themselves as "unique, special, and much more socially significant than they actually are."[13]
Elkind also created terms to help describe the egocentric behaviors exhibited by the adolescent population such as what he calls an imaginary audience, the personal fable, and the invincibility fable. Usually when an egocentric adolescent is experiencing an imaginary audience, it entails the belief that there is an audience captivated and constantly present to an extent of being overly interested about the egocentric individual. Personal fable refers to the idea that many teenagers believe their thoughts, feelings, and experiences are unique and more extreme than anyone else's.[20] In the invincibility fable, the adolescent believes in the idea that he or she is immune to misfortune and cannot be harmed by things that might defeat a normal person.[13] Egocentrism in adolescence is often viewed as a negative aspect of their thinking ability because adolescents become consumed with themselves and are unable to effectively function in society due to their skewed version of reality and cynicism.
There are various reasons as to why adolescents experience egocentrism:
Adolescents are often faced with new social environments (for example, starting secondary school) which require the adolescent to protect the self which may lead to egocentrism.[21]
Development of the adolescent's identity may lead to the individual experiencing high levels of uniqueness which subsequently becomes egocentric – this manifests as the personal fable.[22]
Parental rejection may lead to the adolescents experiencing high levels of self-consciousness, which can lead to egocentrism.[23]
A study was completed on 163 undergraduate students to examine the adolescent egocentrism in college students. Students were asked to complete a self-report questionnaire to determine the level of egocentrism present. The questions simply asked for the reactions that students had to seemingly embarrassing situations. It was found that adolescent egocentrism was more prevalent in the female population than the male.[24] This again exemplifies the idea that egocentrism is present in even late adolescence.
Results from other studies have come to the conclusion that egocentrism does not present itself in some of the same patterns as it was found originally. More recent studies have found that egocentrism is prevalent in later years of development unlike Piaget's original findings that suggested that egocentrism is only present in early childhood development.[25] Egocentrism is especially dominant in early adolescence, particularly when adolescents encounter new environments, such as a new school or a new peer group.[13]
In addition, throughout adolescence egocentrism contribute to the development of self-identity; in order to achieve self-identity, adolescents go through different pathways of "crisis" and "commitment" stages,[26] and higher self-identity achievement was found to be correlated with heightened egocentrism.[27]
During adulthood[edit]
The prevalence of egocentrism in the individual has been found to decrease between the ages of 15 and 16.[28] However, adults are also susceptible to be egocentric or to have reactions or behaviours that can be categorized as egocentric (Tesch, Whitbourne & Nehrke, 1978).[29]
Frankenberger tested adolescents (14–18 years old) and adults (20–89) on their levels of egocentrism and self-consciousness.[30] It was found that egocentric tendencies had extended to early adulthood and these tendencies were also present in the middle adult years.
Baron and Hanna looked at 152 participants and tested to see how the presence of depression affected egocentrism.[31] They tested adults between the ages of 18 and 25 and found that the participants who suffered from depression showed higher levels of egocentrism than those who did not.
Finally, Surtees and Apperly found that when adults were asked to judge the number of dots they see and the number of dots the avatar in the computer simulation sees, the presence of the avatar interfered with the participants' judgment-making during the trials. Specifically, these were the trials where the number of dots seen by the participant was inconsistent from the number of dots the avatar saw.[32] Such effect on the participants diminished when the avatar was replaced with a simple yellow or blue line, which concluded that somehow the avatar having a personal attribute implicitly caused the participants to include its "vision" into their own decision making. That said, they made more errors when they saw prompts such as "the avatar sees N" when N was the number of dots the participant saw and not the avatar, which shows that egocentric thought is still predominant in making quick judgments, even if the adults are well aware that their thoughts could differ from others.
See also[edit]
Amae
Attribution (psychology)
Chronocentrism
Egotism
Epistemic virtue
Intellectual virtue
Narcissistic defences
Personality disorder
Religiocentrism
Solipsism
Spoiled child
References[edit]
Jump up ^ Anderman, Eric M.; Anderman, Lynley H. (2009). "Egocentrism". Psychology of Classroom Learning: An Encyclopedia. 1: 355–357.
Jump up ^ Young 2011, p. 134.
Jump up ^ Pronin, Emily; Olivola, Christopher Y. (2006). Encyclopedia of Human Development. Thousand Oaks, CA: SAGE Reference. pp. 441–442. Retrieved 20 Oct 2014.
^ Jump up to: a b c Epley, Nicholas; Morewedge, Carey K; Keysar, Boaz (2004-11-01). "Perspective taking in children and adults: Equivalent egocentrism but differential correction". Journal of Experimental Social Psychology. 40 (6): 760–768. doi:10.1016/j.jesp.2004.02.002.
^ Jump up to: a b Onishi, K. H., Baillargeon, R. (2005). "Do 15-month-old infants understand false beliefs?". Science. 308 (5719): 255–258. doi:10.1126/science.1107621. PMC 3357322  . PMID 15821091. CS1 maint: Uses authors parameter (link)
^ Jump up to: a b Wimmer, H., Perner, J. (1983). "Beliefs about beliefs: Representation and constraining function of wrong beliefs in young children's understanding of deception" (PDF). Cognition. 13 (1): 103–128. doi:10.1016/0010-0277(83)90004-5. PMID 6681741. CS1 maint: Uses authors parameter (link)
Jump up ^ Adams, G. R., Jones, R. M. (1982). "Adolescent egocentrism: Exploration into possible contributions of parent-child relations". Journal of Youth and Adolescent. 11 (1): 25–31. doi:10.1007/BF01537814. PMID 24310645. CS1 maint: Uses authors parameter (link)
Jump up ^ Keysar, B., Barr, D. J., Balin, J. A., Brauner, J. S. (2000). "Taking perspective in conversation: The role of mutual knowledge in comprehension". Psychological Science. 11 (1): 32–38. doi:10.1111/1467-9280.00211. PMID 11228840. CS1 maint: Uses authors parameter (link)
Jump up ^ Premack, D., Woodruff, G. (1978). "Does the chimpanzee have a theory of mind?". Behavioral and Brain Sciences. 1 (4): 515–526. doi:10.1017/S0140525X00076512. CS1 maint: Uses authors parameter (link)
Jump up ^ Butterworth G Harris M (1994). Principles of developmental psychology. Hillsdale, NJ England: Lawrence Erlbaum Associates, Inc.
Jump up ^ McLeod, Saul (2010). "Preoperational Stage".
Jump up ^ Pronin, E., & Olivola, C. Y. (2006). "Egocentrism". In N. J. Salkind. Encyclopedia of Human Development. 1. Thousand Oaks, CA: SAGE Reference. pp. 441–442. Retrieved 2006. Check date values in: |access-date= (help)CS1 maint: Uses authors parameter (link)
^ Jump up to: a b c d Berger, Kathleen Stassen (2014). Invitation to the Life Span, Second Edition. New York: Worth Publishers.
Jump up ^ Crain, William C. (2005). Theories of Development: Concepts and Applications, Fifth Edition. Upper Saddle River, NJ: Prentice Hall. p. 108.
^ Jump up to: a b c d Fogiel, M (1980). The psychology problem solver: a complete solution guide to any textbook. New Jersey, NJ US: Research & Education Association.
^ Jump up to: a b c Junefelt, K (2007). Rethinking egocentric speech: towards a new hypothesis. New York, NY: Nova Science Publishers, Inc.
Jump up ^ Sammons, A (2010). "Tests of egocentrism" (PDF). Psychlotron.org.uk. Retrieved 19 February 2012.
Jump up ^ Goossens L.; Seiffge-Krenke I.; Marcoen A. (1992). "The many faces of adolescent egocentrism: Two European replications". Journal of Adolescent Research. 7 (1): 43–58. doi:10.1177/074355489271004.
Jump up ^ Elkind D (December 1967). "Egocentrism in adolescence". Child Dev. 38 (4): 1025–34. doi:10.2307/1127100. JSTOR 1127100. PMID 5583052.
Jump up ^ Vartanian LR (Winter 2000). "Revisiting the imaginary audience and personal fable constructs of adolescent egocentrism: a conceptual review". Adolescence. 35 (140): 639–61. PMID 11214204.
Jump up ^ Peterson K. L.; Roscoe B. (1991). "Imaginary audience behavior in older adolescent females". Adolescence. 26 (101): 195–200. PMID 2048473.
Jump up ^ O'Connor B. P.; Nikolic J. (1990). "Identity development and formal operations as sources of adolescent egocentrism". Journal of Youth and Adolescence. 19 (2): 149–158. doi:10.1007/BF01538718. PMID 24272375.
Jump up ^ Riley T.; Adams G. R.; Nielsen E. (1984). "Adolescent egocentrism: The association among imaginary audience behavior, cognitive development, and parental support and rejection". Journal of Youth and Adolescence. 13 (5): 401–417. doi:10.1007/BF02088638.
Jump up ^ Rycek RF, Stuhr SL, McDermott J, Benker J, Swartz MD (Winter 1998). "Adolescent egocentrism and cognitive functioning during late adolescence". Adolescence. 33 (132): 745–9. PMID 9886002.
Jump up ^ Myers, David G. (2008). Psychology. New York: Worth. ISBN 1-4292-2863-6.
Jump up ^ Marcia, J. E. (1980). "Identity in adolescence". In Adelson, J. Handbook of Adolescent Psychology. New York: Wiley.
Jump up ^ O'Connor, B. P. & Nikolic, J. (1990). "Identity development and formal operations as sources of adolescent egocentrism". Journal of Youth and Adolescence. 19 (2): 149–158. doi:10.1007/BF01538718. PMID 24272375.
Jump up ^ Louw, DA (1998). Human development, 2nd Ed. Cape Town, South Africa: Kagiso Tertiary.
Jump up ^ Tesch S.; Whitbourne S. K.; Nehrke M. F. (1978). "Cognitive egocentrism in institutionalized adult". Journal of Gerontology. 33 (4): 546–552. doi:10.1093/geronj/33.4.546.
Jump up ^ Frankenberger K. D. (2000). "Adolescent egocentrism: A comparison among adolescents and adults". Journal of Adolescence. 23 (3): 343–354. doi:10.1006/jado.2000.0319.
Jump up ^ Baron, P; Hanna, J (1990). "Egocentrism and depressive symptomatology in young adults". Social Behavior and Personality. 18 (2): 279–285. doi:10.2224/sbp.1990.18.2.279.
Jump up ^ Surtees, A. D. R. & Apperly, I. A. (2012). "Egocentrism and automatic perspective taking in children and adults". Child Development. 83 (2): 452–460. doi:10.1111/j.1467-8624.2011.01730.x. PMID 22335247.
Further reading[edit]
Caputi M.; Lecce S.; Pagnin A.; Banerjee R. (2012). "Longitudinal effects of theory of mind on later peer relations: The role of prosocial behavior". Developmental Psychology. 48 (1): 257–270. doi:10.1037/a0025402. PMID 21895361.
Young, Gerald (2011). Development and Causality: Neo-Piagetian Perspectives. New York, NY: Springer. ISBN 978-1-441-99421-9.
External links[edit]
Look up egocentrism in Wiktionary, the free dictionary.
The Human Mind Is Naturally Prone To the Following Egocentric Tendencies by Foundation for Critical Thinking
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