[7] On January 4, 1948, a demonstration of thousands of technicians, writers, and actors including Simone Signoret, Jean Marais, Raymond Bussieres, Madeleine Sologne, Jacques Becker, and Louis Daquin was organized and led to the subsequent revision of the agreements (as discussed in the previous section).
The Center national de la cinematographie was created on October 25, 1946, to help organize and finance the French film industry.
[2] The CNC made several efforts to help support the French cinemas, including the tax program introduced in September 1948 (as discussed in the previous section).
[2] The Blum-Byrnes loan also awarded the French less than they wanted, and less than the British had received, further complicating Franco-American relations.
The agreement was seen as a way to "spread the American way of life" though a war-torn France (and Europe at large).
[6] The agreements were impactful and allowed for large numbers of American films to be shown in France.
Many American films had already amortized their costs during the period when they were banned in France and were thus able to be sold cheaply abroad for more profit.
[8] To further the cultural propagation effect of the Blum–Byrnes agreements, the informational Media Guaranty Program was established in 1948 as part of the Economic Cooperation Administration to "guarantee that the US government would convert certain foreign currencies into dollars at attractive rates, provided the information materials earning the moneys reflected appropriate elements of American life".