The French Gov. Rejection Of Popular American Music In The 2nd Half Of The 20th Century

Introduction

The primary focus is the French governmental rejection of popular American music, as well as other components of American culture, in the second half of the twentieth century, derived from France's foreign policy with the USA, and it~ culture. What was interesting were the steps that the French took to protect their culture from what they saw, and continue to see, as the imminent destruction at the hands of popular American culture.

Why does the French government reject popular American music during the second half of the Twentieth Century? This rejection is mainly because the French government believes that the American culture is 'culturally imperialistic,' its inf1u~nce in other countries diminishing their native cultures. And since the American culture is extremely hard, if not impossible, to control by the local governments, then foreign countries are threatened of being Americanized (Kuisel, 3-4). Because of this, this threatens the French government, and they are taking steps to prevent American culture from destroying the culture of France, both by limiting the entry of American culture into the country, and by strengthening their own. The French government, since the election of Charles de Gaulle in 1958, has been adamant of preserving their culture in the face of the increasingly-culturally imperialistic American popular culture that is exported across 'the globe. They have succeeded to a certain extent, and the French Government continues to strive to preserve their national identity through preserving their culture.

Why Do The French Politics Feel Strongly Against The "Culturally Imperialistic" American Culture?

First a common misconception about the French and American relationship must be denounced. Generally, Americans believe that the French 'hate' them because of the geological and cultural differences. Yet, this is untrue because the French populace indulges in, and welcomes, popular American culture into their country. For instance, the French enjoy the fast-food franchise McDonalds as much as Americans, and the. restaurants are just as widespread in France as they are in America (Steiner, "French, Anti-Americanism"). To clarify. the French does not hate American cuhme_ hnt the

French government sees the popular American culture as a 'threat' to the French cultural identity, so they attempt to minimize the influence of American culture in their country (Steiner, "French Anti-Americanism").

'2.1 - French Foreign Policy_ and Why Charles de Gaulle Felt So Strongly About American Culture and Music: The English Problem

The beginning ofthe French foreign policy was during the year 1958, when Charles de Gaulle c~e into power in the French government, and when he created the

I

Fifth Republic, a new' fo~ of government in France which made the presidential .position

more powerful and influential (Looseley, 2). When de Gaulle was in power, he then began to pursue an independent foreign policy for his country, as he resented American influence in Cold War affairs, and tried to limit the American influence in Europe (Wolfson & Laver, 366).

Charles de Gaulle ha

Richard F. Kuisel, a professor at the BMW Center For German and European Studies in the History Department, writes Seducing The French: The Dilemma of Americanization, which was helpful to both uncover the French retaliation against American culture in general, and also specifically some measures for minimizing the influence .of American popular music in France, such as

Looseley, David. Cultu~al Policy In France Since 1959: Ann's Length or 'Up Close And

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Personal?' 2001. Scandinavian Cultural Institute. 10 September 2007.

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David Looseley academically studies France in general, including cultural studies, and has written his article with an adopted cultural-historical perspective to explore What the French governmental attitude is towards culture, whether it be their own culture or the foreign popular American culture that is imported into their country. Explaining the French cultural policy from 1959 to present day, Looseley writes an information-rich

resource.

Munro, James. "If it isn't clear, it isn't French: language and identity," Contemporary

French Cultural Studies. Eds. William Kidd and Sian Reynolds. L~::mdon, Great Britain: Arnold, 2000. 129-139.

Dr. James Munro, a lecturer for the University of Sterling in the UK, presents a very clear and dependable source about the French language and identity, which is only 'strengthened by Munro's status as a French lecturer.

Rothkop, David. "In Praise of Cultural Imperialism? Effects of Globalization on Culture." Global Policy Forum. 22nd June, 1997. Global Policy Forum. 3l~t August 2007. < http://www.globalpolicy.orglglobalizlcultural/globcult.htnt >

David RothkoP is a professor of international affairs at the Colombia University, and used to be a senior US official in the U.S. Department of Commerce during the fIrst term of the Clinton Administration, which means that David Rothkop has had many years of experience in concern with international affairs, including the effects of globalization on culture. Rothkop is an ideal source because he writes about the general overview of globalization, including the use of satellites to spread a global culture, and what France does to prevent Americanization of their national identity.

Sergeant,