The final agreement (in particular the modification of Blum Byrnes` agreement, devoted exclusively to cinema) avoids digital quotas (system of (en) screen quotas (in), and reserves four weeks of thirteen French films, a capacity of 48 films per year 15. The deal was seen as a way to spread the “American Way of Life” across war-torn France (and Europe as a whole). It was also an effective way to promote free trade and the Hollywood industry. The US government has also imagined that these measures will eliminate the protection of the French film industry once the sector regains its competitiveness. [6] The agreements were effective and made it possible to project a large number of American films in France. During the first half of 1947, 340 American films were screened against 40 French.