Expose(s) the fissures of a nation deeply concerned with its status globally yet one that tends to favour culturally approved notions of French cinema as auteur cinema in favour of popular fare that is more aligned with popular tastes.

- Elizabeth Miller, French ScreenStudies

For a number of years now, Charlie Michael has been exploring the cultural paradoxes of French blockbusters, questioning their place within the French film industry, their international reception and the policies underlying their production. [...] French Blockbusters convincingly reaffirms the vitality of the commercial strand French cinema and its presence worldwide.

- Isabelle Vanderschelden, Manchester Metropolitan University, Modern & Contemporary France 28.3

[An] original book in English that offers fresh readings of the local/global and popular/art cinema tensions found in the French industry, often adopting a comparative approach (combining for example French perspectives and those of Anglo-American audiences and film scholars).

- Isabelle Vanderschelden, Manchester Metropolitan University, Modern & Contemporary France, 2020

Michael’s book is certainly relevant for anyone interested in the recent history of the French film industry and how economic policy and cultural politics have shaped recent filmmaking practices in France. [...] it gives the relevant cultural and political histories while also foregrounding how to read blockbuster hits as texts themselves, which, as Michael demonstrates, do have artistic approaches worthy of such analysis.

- Mackenzie Leadston, The Ohio State University, Contemporary French Civilization 45.3-4

This book is perfect for 200- and 300-level global media classes that seek to interrogate and enlarge the category of "popular" cinema. It adroitly weaves together cinema history, media industry studies, and cultural policy. This book is a novel and groundbreaking way to illustrate the effects and implications of the cultural exemption in international trade policy. The work is valuable because attention to French popular cinema is sadly all too rare, despite its impact, viewership, and effects on labor, policy, and global Francophone media flows. I highly recommend that people teaching undergraduate global media courses use　Michael’s book to help our students revise their understandings of European media systems, content forms, policy debates, and industrial strategy.

- Professor Benjamin Aslinger, Bentley University,

Balancing an array of historical influences, Michael gives us a new language for navigating the internal conflicts that have marked a period of dynamic change, and when the intermittent success stories of ‘big’ films became fodder for debate about what forms of recognition (both economic and symbolic) are most appropriate for a national industry with transnational ambitions. Written briskly like a behind-the-scenes saga, this original book will challenge the preconceptions of anyone who thinks that notions of ‘French cinema’ and ‘blockbusters’ should remain diametrically opposed.

- Professor Frédéric Gimello-Mesplomb, University of Avignon,