Editing Paris Métro (section)

== Cultural significance ==
The Métro has a cultural significance in the arts that goes well beyond Paris. The term "metro" has become a generic name for subways and urban underground railways.

The [[Paris Métro entrances by Hector Guimard|station entrance kiosks]], designed by [[Hector Guimard]], fostered [[Art Nouveau]] building style (once widely known as "le style Métro");{{sfnp|Bobrick|1981|pp=155, 165}} however, some French commentators criticised the Guimard station kiosks, including their green colour and sign lettering, as difficult to read.{{sfnp|Bobrick|1981|pp=155–156, 165}}

The success of rubber-tired lines led to their export to metro systems around the world, starting with the [[Montreal Metro]].{{sfnp|Bobrick|1981|pp=318–319}} The success of Montreal "did much to accelerate the international subway boom" of the 1960s/1970s and "assure the preeminence of the French in the process".{{sfnp|Bobrick|1981|p=319}} Rubber-tired systems were adopted in [[Mexico City Metro|Mexico City]], [[Santiago Metro|Santiago]], [[Lausanne Metro|Lausanne]], [[Turin Metro|Turin]], [[Mass Rapid Transit (Singapore)|Singapore]] and other cities. The Japanese adopted rubber-tired metros (with their own technology and manufacturing firms) to systems in [[Kobe Municipal Subway|Kobe]], [[Sapporo Municipal Subway|Sapporo]], as well as parts of Tokyo.

The "[[Rabbit of the Paris Métro]]" is an anthropomorphic rabbit visible on stickers on the doors of the trains since 1977 to advise passengers (especially children) of the risk of getting one's hands trapped when the doors are opening, as well as the risk of injury on escalators or becoming trapped in the closing doors. This rabbit is now a popular icon in Paris similar to the "[[mind the gap]]" phrase in London.