National cinema is a hard to define film critical term. Higson (as cited in Simpson, 2014) argues that ‘categories of nation-state cinema should include the range of films in circulation within a nation-state’. There is nothing wrong with this claim in the account of nation-state cinema, but national cinema are way beyond the national boundary, whether in its circulation or content, besides national boundaries are moveable. In this essay, I will discuss the films Turtles Can Fly (Bahman Ghobadi,
Mexico’s cinemas creating the fear in its cultural elites that Mexico would become a cultural dependent of the United States. In Making Cinelandia American Films and Mexican Film Culture Before the Golden Age, Laura Isabel Serna compellingly argues that rather than acting as a “form of cultural imperialism” (1), American films and film culture engaged city dwelling Mexican moviegoers (on both sides of the border) in ways that ultimately molded their identities as modern Mexicans beyond the cinema. Borrowing
The movie Older Than America is an informational narrative of the treatment of indigenous people in the United States. The fourth cinema is a movement in which people of indigenous backgrounds tell the stories of their people, in a realistic and less Hollywood style. The Movie, Older Than America, is set both in the present and in the recent past, and explores the conflict of identity which plagues many native people. It poses the question; does it wipe the war paint off the lens? My answer to
AIDS: Keeping New Queer Cinema Alive “Queer Cinema is Back” – headlines the front page of the 2005 issue of the Advocate, signifying to a new flood of movies making way into theatres. Five years prior to this news release B. Ruby Rich, who coined the art as New Queer Cinema almost a decade earlier, declared that the cinema had co-opted into “just another niche market” dominated by popular culture (Morrison 135 & Rich 24). What had seemed to be a movement, turned out to be only a moment in the brief
Full Service Cinema: The South Korean Cinema Success Story (So Far) 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
In 1922, Benito Mussolini became the official head of the Fascist regime in Italy. Mussolini is quoted as saying, “the cinema is the most powerful weapon”, although his government did not immediately interfere with the commercial industry (Bondanella, pg. 22). It was not until 1934, under the director Luigi Freddi, that fascism became greatly involved in Italian cinema. However, after the end of World War II and the fall of fascism, Italians wanted to forget about the Fascist years so many of the
When delineating between first and second generation American Independent cinema directors there is a fine line separating the two generations. This line usually lies somewhere in the early 80’s when the term ‘American Independent Cinema’ first began to emerge. Many other things that were pertinent to the American Independent Cinema movement also arose such as the emergence of video as a media form. There is a strong distinction in the change of dynamics between film school in the first and second
Representations of immigrants on screen has been problematic since the early days of the motion picture medium. Hollywood cinema, particularly, is referential to the various lifestyles that encompass the American experience, visual representations of cultural characteristics and traditions that are the very fabric of an ethnic background. Through an American lens, a certain perception arises, which, more often than not, translate as either underrepresented or greatly exaggerated, the repercussions
Japanese cinema during the early history of film and through the silent era was similar yet quite different as the history of cinema in the United States and the rest of the western world. Although Japan didn’t have an entrepreneur or inventor trying to invent filmmaking like in England, France, and the United States, it did already have a taste for moving pictures and visual storytelling, leading a transition into film quite natural. Similar to the west, Japanese cinema took its earliest form from
As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema could be emerging to a new level in the film industry. The clip provided with the essay explores the potential of transnational films with the context of
to New Hollywood Cinema Introduction The Auteur theory was born in France and first mentioned by François Truffaut. When it traveled to United States and was summarized by Andrew Sarris, it inspired a new generation of Film Academy graduated directors to create a new mode of film making which became what we call New Hollywood Cinema. The following essay will be divided into two main parts. Firstly, there will be a brief introduction of the Auteur Theory in France and United States. This includes
into theatre is by broadcasting live performances to cinemas, one of the benefits for this collaboration is making theatre more accessible to a wider audience. This chapter will be focused around broadcasted theatre. There has been a constant battle between cinema and theatre, this rivalry has grown just as technology has grown, but, unfortunately it seems many are heading to their local cinema rather than the theatre. The united kingdoms cinema admission figures for 2013 was a total of 165,539,976
reality and live in a dream. Even the names of the cinemas had a feel of romance. But disaster struck in the 50’s and 60’s, these were the decades that the majority of households would have televisions, therefore families could experience film in their own living room. This lead to the cinema losing the description of being a “picture palace”(Richard, 2010,p.18). From this a lot of cinemas were either going through closure or demolition; “cinema after cinema has been levelled to make ways for yet another
New German Cinema Introduction The Second World War brought forth not only physical destruction to Germany, but also cultural destruction, particularly in its film industry. The film industry of West Germany, in particular, went under the inevitable control of the United States (US). American films became popular among the West German public, while prominent West German directors and actors chose to leave West Germany to pursue their careers in Hollywood, with many of them becoming highly successful
Rainer Werner Fassbinder is one of the most prominent Brechtian filmmakers of the New German Cinema Period. His work closely resembled that of Brecht which could be due to that they had similar ideologies and backgrounds in the sense that they both saw problems with the people of their country becoming passive consumers and less becoming active producers. This was achieved by making the audience aware of what they are watching and allowing them to see the political aesthetics. According to Alan Lovell
Muybridge actually came close to producing cinema himself with his projection device the 'Zoöpraxiscope '. With this device, Muybridge lectured across Europe and America, using the Zoöpraxiscope
kinds of media contrast as a form of whether or not to come out as a gay or not during a time when AIDs was prominent and new. Within the early 1990s there is a rise in queer culture that many people did not know for what it was. At first, the United States thought it was problematic because it was an invasion on the home-front and the country is trying to figure out its own identity culturally, which led to the “culture” wars. The idea of culture wars was that historically U.S. had problems defining
Representation of Minorities in American Cinema As the semester progressed and we continued learning how Latinos have been misrepresented through American cinema during the twentieth century, I began to wonder about my own heritage and how Jews were portrayed in films of the same era. I grew up learning about the various stereotypes that have been associated with Jews throughout history, but never have I explored the portrayals of Jews through film history in the United States. My curiosity led me to research
Hollywood easily comes to mind when we think of films. Produced from the United States of America, one cannot deny the immense influence of Hollywood in the global film industry. Tom Brook (2014) in his article How the global box office is changing Hollywood likened it to an octopus with tentacles extending to different countries across the globe. Women in Hollywood are often visual accessories and are reflected outside of the man’s world. Women representations are fixed and mediated, taking away
Introduction American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions