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, 2004) and Edge of Heaven (Fatih Akin, 2007) to analyze national cinema as the beachhead of third cinema is a vital term in interpret cinema. At the start, I will explore the situation when national cinema engaging with different audiences; then, I will …show more content…
For most blockbusters, an organic and coordinated national community are easy to conquer with a meaningful national state, such as patriotism. But in some cases, the experience of migration, diaspora, changing and homeless provide by national cinema will prevail. This is to say in these situation the allegiances outside of national and other belonging above national will be greater awareness and understanding. Turtles Can Fly and Edge of Heaven offers the best explanation. Under normal circumstances, regular practice of mass communication plays an important role in the process of closely untied people with common value as a collective society, but, does that mean the collective state must be national? Indeed, a particular aspect of society after fully discussion of press, television, internet and headlines will produce much strong repercussions rather than the list of figures. But are these media events as a national phenomenon has been the most fully understand? As Hamid (2006) indicates that ‘we tend to think of national cinema as only informing us about the nation in which is originated. But, on the other hand, we tend to trust our own national media to provide news of the …show more content…
Take example of Crocodile Dundee, which succeed both in Australia and the United States, some people are neither have the sense of sympathy nor expect to experience their national identity even though they are attracted by the text of the film. As Cao (2012) criticizes that ‘the construction of Australianness in the Dundee saga is defined in relation to the American Empire’. Unlike mainstream film, Turtles Can Fly and Edge of Heaven highlights the imagined community of transnational experience rather than the own experience. Hamid (2006) suggests that, ‘in the case of Iran, which is almost completely closed off to Western eyes, we have been largely dependent on Iranian filmmakers to allow us any view of the country at all’. Although cannot make sure that all the audiences correct understanding transnational scope in different ways, but the spectators will convert these experience into their own reference of cultural frame, and used in different texts and purposes. Scott (2005) has comments that, ‘Mr. Ghobadi has set out to give the Kurds a national cinema, and to bring their traditions and their language, as well as their troubles, to the attention of global audiences’. In the occasion of foreign national cinema international launch, non-native audiences are a mixture
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
The Subordination of the Camera Eye to the Human Subject 2 Film, as a medium of sight, exists primarily as a mode of representation. By the recording of images, a perspective of reality is created and maintained during viewing. The relation between what the camera records and what the viewer perceives is a direct one, which is sustained through the material assumption of the filmic reality as an actual one (The suspension of belief). Citing examples from Psycho (Alfred Hitchcock, 1960), 2001: A Space Odyssey (Stanley Kubrick, 1968), Man With a Movie Camera (Dziga Vertov, 1929), and Blow Up (Michelangelo Antonioni, 1966) this paper will contend that these films assert the prevailing domination of the human viewpoint over that of the “cineeye.”
democratic society. This film has made think in a three dimensional way for whom is
398).It is also stated that news divisions reduced their costs, and raised the entertainment factor of the broadcasts put on air. (p. 400). Secondly, the media determines its sources for stories by putting the best journalists on the case and assign them to areas where news worthy stories just emanates. (p.400). Third, the media decides how to present the news by taking the most controversial or relevant events and compressing them into 30 second sound-bites. (p.402). finally, the authors also explain how the media affects the general public. The authors’ state “The effect of one news story on public opinion may be trivial but the cumulative effect of dozens of news stories may be important. This shows a direct correlation between public opinions and what the media may find “relevant”. (Edwards, Wattenberg, Lineberry, 2015, p.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
The second generation of Moroccan directors managed to adopt new styles and techniques shifting their focus into the so called ‘auteur’ cinema. They also succeeded to detach themselves gradually from the impact of the French and other foreign cinema models rendering the films more original. The filmmaker’s growing interest in domestic issues contributed to the emergence of the debate over the role of cinema as cultural product in the development of the nation. Questions about the type of film the state should encourage pushed the latter to revise its policies and to issue new regulation so as to enhance
Nowadays our world is constructed by globalisation and this aspect is especially depicted by the concept transnationalism in the media industry. Borders are now here to be crossed and to let access to further exchange between different countries or nations. The notion of transnationalism was furthermore developed by Andrew Higson (2000) focusing at the cinema. Indeed, he looked at tensions between the transnational and the national cinema. This led to a certain questioning of national identity and what is exactly a nation or nationalism and how can it be represented in a media text. Moreover, the concept of nation as ‘imagined communities’ developed by Benedict Anderson (2006) will be helpful to look at those tensions. In order to illustrate
Topic 1 – American Sniper: Cinematic works are inarguably a strong social device – impacting directly on public consciousness and reflecting aspects of local character and culture. The international relations theory of social constructivism supports this notion, as it is largely concerned with the identities and self-conceptualisations of states or other world actors (Jackson & Jones, 2012). Furthermore, social constructivism is a process of constructing meanings and realities. In film, “meanings arise in the intentions of the producer, in the conventions of the content, and in the interpretations of the receiver” (Anderson & Meyers, 1988). A collective analysis of the annual US-produced Theatrical Market Statistics Report indicates that the
David Cronenberg and Terry Gilliam are both famously talented directors who have created numerous films that are thought provoking and ingenious. They continue to inspire discussions on political and social issues, while added humor and/or horror to every scene. Videodrome and Brazil, for example, are two very important films in these directors’ careers in terms of making a statement and continuing their careers as renowned filmmakers. We should consider these two films when approaching themes of government, technology, vanity, and the “individual” (or lack there of).
In addition, the employment of Arabic language, especially colloquial Arabic, helps focus the audience on the internal political and social intricacies of the Middle East. The incorporation also highlights the effort on part of the filmmakers to break away from traditional presentations of the “Orient,” by presenting personable accounts of individuals such as Wasim, which helps demonstrate how the stereotypical portrayals of Arabs may have changed in the film industry. The effort made towards more culturally and historically appropriate depictions of the Middle East supports Irwin’s belief that the field has progressed and knowledge has increased, against Said’s insistence that Orientalism has remained frozen in place (Kamiya). However, it is important to keep in mind that Syriana is not representative of all films depicting the Middle East and that other films may depict Orientalism in a different
Silvio Waisbord ’s essay “Media and the Reinvention of the Nation” raises a variety of central themes regarding the role of media and culture in the nation and its corresponding nationalism, the most encompassing being the great complexity of the relationships between media, culture, the nation, and nationalism. Another major theme is the permanence of the nation and nationality as the dominant base for cultural identity above other identities such as cosmopolitanism or supranationalism. Furthermore, Waisbord consistently makes a case for the importance of media, such as literature, radio, and television, in the creation of a national culture, helping to form both nations and their unique forms of nationalism, as well as, reinforce national
The media, including television programming, cartoons, film, the news, as well as literature and magazines, is a very powerful and pervasive medium for expression. It can reach a large number of people and convey ideas, cultural norms, stereotypic roles, power relationships, ethics, and values. Through these messages, the mass media may have a strong influence on individual behavior, views, and values, as well as in shaping national character and culture. Although there is a great potential for the media to have a positive and affirming effect on the public and society at large, there may be important negative consequences when the messages conveyed are harmful, destructive, or violent.
Globalization is often misrepresented as the growing influence of the western culture in the world and so we tend to state that Hollywood is influencing Bollywood to a great extent. An argument can be made to justify the validity of that statement. However, this paper aims at presenting the influence of Bollywood on Hollywood in terms of music, dance and visual representation. This paper deals with a specific part of globalization, providing evidence that it is not only related to the spreading influence of the western culture but also of eastern culture. Feature film produced in 2009 Courtesy: UNESCO Indian movies began production in the beginning of the 20th century and were, much like American films, in black and white.
Film is a popular source for entertainment in today’s culture and has become an important aspect of society. While film is often used for the purpose of entertainment, there are other motives that appear in the films themselves. Current events often materialize in some form or fashion on the big screen. In addition to being used for pleasure, film has transformed into “a powerful vehicle for culture, education, leisure and propaganda” (Shah). While not all movies are solely focused on societal issues, various movies are often made to start a discourse among their viewers. Society is reflected in popular culture, specifically film, and is used to demonstrate contrasting views in society, influence social activism, and promote political agendas.
African cinema has evolved in multiple facets since postcolonialism milieu. Post-nationalist African cinema has transformed into a more complex network that simultaneously incorporates both global and national issues alike. Modern post-nationalist films aim to aim to repudiate a homogenized notion African Cinema while highlight the diversities in African cinema, unlike antithetical early nationalist variants which portrayed a generalized African identity. These post-nationalist film makers advocate the need for utilizing new film languages and ideals suitable to the contemporary cultural, social, political and economic situations of different African countries. Certain developments have been instrumental to this gradual cinematic evolution