While the profound effect that metropolitan France has had on the contours of the global literary marketplace (or ‘littérature-monde’) has figured prominently in much recent scholarship, the similarly central role that Paris plays in the nebulous domain of world cinema remains ripe for scrutiny. The status of the Cannes Festival is well known as perhaps the single most powerful gatekeeper to a filmmaker’s international circulation, but the broader relationship between France’s administration of film culture and the international art-house circuit is not widely understood. This paper engages with competing definitions of ‘world cinema’ on both sides of the Atlantic and lays the groundwork for a historical inquiry into the Aide aux cinémas du monde, a production grant that the Centre national du cinéma established in 2012 to replace its long-running Fonds Sud, a fund for film projects originating in the southern hemisphere and beyond.

尽管法国大都会对全球文学市场（或称“文学世界”）的轮廓产生了深远的影响，但在最近的学术研究中却很突出，但巴黎在世界电影的模糊领域中扮演的类似核心角色仍然成熟仔细检查。戛纳电影节的地位众所周知，也许是电影制片人国际发行的最有力的把关者，但法国电影文化管理与国际艺术圈之间的广泛关系尚未得到广泛理解。本文采用了在大西洋两岸相互竞争的“世界电影院”的定义，并为对“世界电影之乡”的历史研究打下了基础，