By Mike Wayne
How does modern ecu Cinema mirror the force for political and financial integration and up to date traits in globalisation, if in any respect? This booklet is a worthwhile expedition into the politics of ecu cinema and widely addresses questions like this. Mike Wayne identifies a few key subject matters pertinent to a learn of the modern cultural and political dynamics of eu cinema from the mid-1980's, Read more...
1. ecu Cinema: within the Shadow of Hollywood --
2. nationwide Cinema/International Markets --
3. Pan-European Cinema --
4. After the autumn: Cinema and imperative and japanese Europe --
5. Diasporan Travels: British Asian Cinema.
Read or Download The Politics of Contemporary European Cinema: Histories, Borders, Diasporas PDF
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Extra resources for The Politics of Contemporary European Cinema: Histories, Borders, Diasporas
Example text
6 F. Jameson, ‘Globalization as a Philosophical Issue’, Cultures of Globalization, p. 74. 7 P. Swann, The Hollywood Feature Film in Postwar Britain St. Martin’s Press, New York, 1987. 8 S. Schou, ‘Postwar Americanisation and the revitalisation of European culture’, Media Cultures: Reappraising Transnational Media (eds) M. Skovmand, K. Schroder, Routledge, London, 1992. 9 F. Jameson, ‘Globalization as a Philosophical Issue’, Cultures of Globalization, p. 74. 10 11 12 13 F. Jameson, ‘Globalization as a Philosophical Issue’, Cultures of Globalization, p.
123 Yet the range of imports into national cinemas is precisely restricted by the same force (Hollywood) which makes ‘homegrown’ film production precarious. 26 European Cinema: In The Shadow of Hollywood We need to turn again to this question of ‘critical’. The notion of critical regionalism is useful in capturing a spirit of ‘indigenous’ cultural production (whether indigenous refers to a sensitivity to local, national or pan-national) cultural resources and expressions. However, we do need to be clear what is meant by ‘critical’.
101 In response, Hungarian films have attempted to simulate the Hollywood formula with such films as Europa Expressz (Csaba Horvath, 1998) and Kalozok (Tamas Sas, 1997) despite the fact that Hungarian cinema neither has the financial infrastructure to make blockbusters or the cultural traditions of the American cinematic idiom. 102 20 European Cinema: In The Shadow of Hollywood On the other hand, making arguments for a more culturally and politically ambitious cinema always risks making an alliance with elitism, although, as I have indicated, beneath the escapist, ‘merely’ entertainment-led model of popular cinema, there often lurks a class, gender and ethnic politics that is hardly very inclusive.