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Influence of globalization on movies
Hollywood's influence on the international market
Hollywood influence on global culture case study
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Movies have dramatically transformed over the years. There are multiple remakes of movies all over the world. Most common places that America gets its movie ideas from are South Korea, Japan, and Hong Kong. The first main point is how American movies are transformed from the original film are simpler than what the original director predicted. Secondly, when the director chooses a cast well-known actors have a leverage on the movie’s results. Then thirdly, stores are giving customers the option to either watch the original film or the American remake. All these factors have an impact on how the development of movies progressed. There are movies that are made in South Korea, Japan, and Hong Kong. Some of the best movies from these places are transformed into an American version. The movies that are shown in America are not exactly how the original movies are created. Graham states that David Leong says “Personally, I think ‘remakes’ are a good thing because it provides exposure for the original source material” (Graham 230). Scenes can be added to make the movies more suspenseful or some of the show may get taken out because it is too violent. “American audiences are sometimes cheated of an original film’s …show more content…
One of the main adjustments a director may do is switching up actors. The original movie would not get many views from the American audience because the actors in the movie are unfamiliar with them. Well-known actors can have a significant effect on the audience and how they will react to the movie. When hiring someone to be a part of a movie, the director has to make sure that the person can portray the role perfectly. “Remakes, with recognizable actors and no subtitles, tend to be far more profitable than foreign films” (Graham 230). Using American actors in the American version of the movie can cause the audience to understand the story within the movie
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
The foreign actors and crew members definitely brought something new to the table. Their vision and their methods of storytelling was much different than classical Hollywood era. Although the number of foreign crew members and actors was high, the way Hollywood stories were told did not change. In the case of Lorre, he wanted to become much more of “objectified commodity image” ( 101 Baer) but he wasn’t given the chance to use his creative power fully so he went back to Germany in 1951. When he realized Germany was not ready to take in his movies such as Der Verlorene (The Lost One) (1952), he went back and dully accepted parts that spoofed his sinister movie
...enshoff et al. (2009), it is important to mention that films that are produced by Hollywood are first and foremost strictly business. To Asian viewers, it may be easier to detect these faulty portrayals, but whether Hollywood casts a Korean to play a Japanese role, or a Chinese to play a Korean, it is all the same because Hollywood uses what works to sell its product well.
they did not change the movie to an American culture type movie because that would
...ctual roles, or adding in exciting events that revise the storyline. These changes are beneficial to producers because they engage a large audience and generate massive profits. In contrast, they do not always have a positive effect on viewers. Although they are entertaining which is an important aspect of theatre culture, they also are often misguiding. Many spectators take movies at face value, without considering that they may not exactly qualify as primary source material. Even when an historical event is fabricated to teach or enhance a moral message, it still doesn’t compensate for bending the truth. Moviegoer’s may have a positive experience and gain some skewed historical perspective, perhaps better than what they knew before the movie, but they loose out on the truth and therefore, a genuine understanding of the historical event, and its significance.
than all the films that have came in prior to it in several ways. An
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
For example, in Argo, a movies based on real events, there is some interwoven American propaganda about how the mission was so smart and brave. The movie also criminalizes the Middle Easterns to a fault by not really showing their motives. Meanwhile, The Revenant, also based on real events, is constantly bogged down with supernatural images and flashes of a “higher” journey that can make the story convoluted. And though the character of Hugh Glass may have been religious or supernatural, the visions feel out of place in an otherwise brutally realistic film. Both movies I mentioned have won Oscars and are great films in their own right. However, they have issues that makes someone double take or doubt an otherwise great film. Sicario, has seemingly learned from these mistakes and has strayed clear of such obstacles by exhibiting an entirely boots on the ground approach to a frequently discussed and dramatized
For this essay I intend to discuss how Hollywood as an industry has used the marketing strategies of blockbuster films to significant advantage in film merchandising. Along with the use of mass merchandising as a form of marketing films, with the hope of creating awareness among the public.
Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinema’s comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be “ifs” and “buts” about the present state of the South Korean film industry. But we should start out by acknowledging its success.
There was a time when box office receipts for in-theater films were heavily on the market. Many independent films in America demonstrated the success progress and how it changes over time. Blockbuster movies were booming in certain films depending on how it grew popular among viewers. A Blockbuster is, “A movie that, whatever it’s cost, has exceptionally large box office receipts” (Barsam and Monahan 494). This was also known as what makes a movie to be iconic. While analyzing the coexistence of blockbuster and independent films in America, it is easier to understand the similarities and differences between certain approaches.
Movies have evolved over the years. Classic black and white silent movies are being taken over by sound effects enhanced colors and more action.The cost of making movies is rising.
Little should be doubted about the imposing presence of US motion pictures in global cinemas. It is uncommon to see a country not showing Hollywood blockbusters each summer, from action-packed superhero films to children-favourite animations. As Kindem (2000, p2) puts it, “many countries’ domestic movie markets have been greatly impacted if not dominated by Hollywood movies since at least 1917.” The supremacy of American films in foreign markets presents no new phenomenon; it boasts a Hollywood power that shows no sign of waning as of today. That leads to a popular notion of Hollywood hegemony in production and distribution, which describes the level of dominance generated by US movie industry over the world.
...orting characters, and then cast several hockey players to portray characters with fewer (if any) lines. These hockey players were cast as they were much more easily capable of representing the physical appearance and abilities of genuine hockey players, as compared to trained actors who would likely bear little resemblance to the hockey players to be portrayed. By committing to realism and raw artistic abilities, foreign film studios are able to make more realistic films that viewers are likely to not only be visually and audibly impressed by, but are also able to relate to on more basic levels because the film as a whole was created to be as naturally realistic as possible. Natural realism, although not always sought by movie-goers, is something that all humans are capable of relating to and can find some interest in, proving foreign films are not a waste of time.