By C. Celli

What makes an Italian movie Italian, a French movie French? Are Hollywood movies relatively American? This learn finds how centralization, universal language and narrative conference convey the cultural heritages in the nationwide cinemas of nine international locations (China, Finland, France, India, Iran, Italy, Mexico, Ukraine, and the United States). The target is to convey severe thought and inventive expression again into equilibrium with a style that demonstrates how renowned cinema actually can  clarify the realm, one kingdom at a time.

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Additional info for National Identity in Global Cinema: How Movies Explain the World (Italian and Italian American Studies (Palgrave Hardcover))

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In other narrative formats that feature a conflict between natural wilderness and civilization, such as the Hollywood western, according to Peter Wollen, the frontier is something that must be tamed and its savage essence brought under control. 6 In Finnish film, the uncivilized elements ironically derive from urban influences. indd 28 11/23/10 8:57:48 AM FINLAND’S RURAL-URBAN SPLIT 29 equilibrium of traditional Finnish life and provide the plot tension for the narrative conventions that resonated among the Finnish public.

This cinematic, urban Helsinki is a fiction, an artifice created to satisfy the desires of spectators who rewarded films with plots based on urban-rural themes. For example, the Finnish film industry used Helsinki as the backdrop for espionage dramas depicting the clandestine independence movement in the early twentieth century. In these films Helsinki exists as a place of mystery and contact with the continent. The rural essence of Finnish culture may be seemingly absent in these espionage thrillers set in the capital, and yet it is continually evoked.

The scene plays up the commonplaces about affected urban culture in a creation of a Helsinki that existed in the imagination of rural spectators. Juurakon Hulda (Hulda from Juurako; 1937), another comedy directed by Valentin Vaala, is based on another play by Hella Wuolijoki who, incidentally, began her career with a male pen name, Juhani Tervapää. The film was remade by Hollywood as The Farmer’s Daughter (1947) with Loretta Young and Joseph Cotton. Juurakon Hulda could be read as a feminist version of Capra’s Mr.

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