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The Prospects For A Reinvigorated And Diverse British National Cinema
'Is there scope for British Cinema in the future?' could be one
interpretation of this statement and one that I intend to explore. I
believe that with the dominance of Hollywood overpowering the British
film industry, the past century has seen the traditional British
cinema suffer. Although audience figures were utterly immense in the
earlier half of the 20th century, we could argue that the Hollywood
film industry enticed the majority of these people. I therefore
disagree with the above statement and propose to look at how the
British film industry has failed the nation and the reasons why.
With recent hit British films such as 'Harry Potter and the
Philosopher's Stone' and 'Bridget Jones' Diary' enticing massive
audiences to British cinemas nationwide, we begin to see some truth in
this statement. And certainly, with respect to a number of other
British successes, it could be reinforced. However, it appears to be
one off hits that the British film industry relies upon whereas
Hollywood can boast hit films, in one way or another, near enough
every year. I intend to look deeper into how Hollywood succeeds vastly
dominates the film industry and the evidence to prove this fact.
To do this I will need to survey attendance figures, highest grossing
British films as opposed to Hollywood 'movies' over the decade and
other relevant information. Therefore, using statistics from the
British Film Institute, such as audience figures over the last century
and the top ten films of all time, I can begin to observe how Britain
has suffered at the hands of Hollywood.
To b...
... middle of paper ...
...the overriding point that all of these 'special effects
successes' are American.
'Bend it Like Beckham' (Gurinder Chadha, 2002) grossed £2 million in
its first weekend.
I personally think that if Britain's film industry is to be
'reinvigorated' it needs to take on the American approach, namely
large-scale funding, marketing and distribution of films. America
produces numerous films every year, some of which fail, expected as
not all films are successful. This may be seen as a gamble, yet
Hollywood continuously remains financially sound and scoops immense
profits annually. So this idea may be gambling with British taxpayer's
money but in the long run profits can begin to heighten. So unless
these techniques are taken on board, this country cannot even begin to
compare with the US, even in the foreseeable future.
Back in the 1800’s, when calculating the population, African Americans were counted as 3/5 of a person (Antonia, p2). One would think that in the past two hundred years people’s beliefs would have changed a little bit, but the general white public are stuck into believing the common stereotypes commonly portrayed in movies. In films and television shows blacks are almost always portrayed as murderers, robbers, rapists, pretty much anything negative, like American History X, for example. Two black men are shown breaking into a white man’s car. People see this, and in turn believe that all black men will try and steal their car; as stupid as it may seem, it is true, and as a result, film producers try to incorporate this into their films. Very rarely, if ever, is it possible to see a minority depicted as a hero-type figure. Every once in a while, there will be an independent film from a minority director, but as Schultz states in Lyon’s piece, “We [blacks] are still being ghettoized in Hollywood, a serious black project of any scope is as difficult to get marketed today as it was in the ‘70s.” By making a barrier to entry for minorities in the film industry, it’s almost as if America is trying to keep black films out of the popular media. At first glimpse, it may appear that minorities are very hard to be seen in the filming industry, when in reality, they are becoming more and more apparent in America’s mainstream media culture, particularly in action movies.
Mathijs, Ernest, and Jamie Sexton. "Chapter 6." Cult Cinema. Oxford: Wiley-Blackwell, 2011. N. pag. Print.
The Scottish and International Film Industry's Contribution to the Development of Scottish Identity in the Last Part of the Twentieth Century
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
In the textbook ‘American Film: A History’, Jon Lewis discusses the components which he believes are markers of “the end of cinema as we know it”. By Cinema, Jon Lewis is meaning the all-encompassing thing that is film-making and film-viewing, as well as the marketing, and business side of Hollywood itself. The changes that resulted from the conglomerate business model, the marketing system of the industry and the advance in technology are the major argument points discussed by Lewis, however I think that technology itself is truly the overarching cause of the changes that’ve been seen.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Hollywood’s diversity problem is well-known; however, the extent might be surprising to most Americans. According to a 2014 report by the Center for the Study of Women in Television, Film & New Media, found that females comprised only 30% of all speaking characters among the top grossing films of 2013. (Lauzen, 2014) However, minority women faired far worse than their Caucasian counterparts. As a matter of fact, if one looks at the numbers even female characters from other world’s were as better represented in film than some minority women; the numbers are as follow for women: Caucasian (73%), African American (14%), Latina (5%), Asian and other world tied (3%). (Lauzen, 2014) If the lack of representation were not enough consider a 2009 study which found that when minority groups are portrayed on television the portrayal tends to be negative. (Alexandrin, 2009) A study by Busselle and Crandall (2009) found that the manner in which African-Americans are portrayed, often as unemployed criminals, tends to have an influence on the way the public perceives African-American’s lack of economic success. Furthermore, the news media does an equally poor job in the ways that African-American’s are presented; according to the same study while 27% of Americans were considered “poor” in 1996 the images of America’s “poor” being presented by news media was heavily Black (63%). (Busselle & Crandall, 2002) Today, this can be seen in the way that African-American victims of police brutality are depicted in the media. Even when African-Americans are murdered at the hands of police for minor and non-violent offenses (e.g. Mike Brown, Eric Gardner, and Tamir Rice) they are often portrayed as thugs, criminals, and vandals. What’s more, seve...
Mathijs, Ernest, and Jamie Sexton. Cult Cinema: An Introduction. Chichester, West Sussex: Wiley-Blackwell, 2011. Print.
Christie, Ian (1 August 2012). "The Top 50 Greatest Films of All Time". Sight & Sound. British Film Institute. Retrieved 12 May 2014
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
Globalization is the spread of different political, economic and cultural trends to different parts of the world. (Stanford) American media has spread rapidly throughout the world, and at the forefront of the media blitz is film.
The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..