Cultural nationalism is a force that permeates through films as a reflection of the country of origin and production. Naturally, it focuses on national identity shaped by cultural traditions and language – a concept that proves problematic when appertained to Irish film and how the ‘Irish Mind’ is translated on screen. Unlike many other countries, Ireland lacks the strong foundation of indigenous voice to solidify its films as Irish, despite the early efforts of Douglas Hyde and others to restore the Gaelic language. Since the linguistic footing of Ireland was crippled by the widespread use of English, the hope of a distinctive culture was put into the Irish Literary Revival; such hope was then catechised by the Roman Catholic tradition for …show more content…
The Crying game follows the character of Fergus, an IRA member, who captures and holds prisoner a man called Judy. Fergus develops a brief yet significant connection with Judy that entices him to protect the man’s girlfriend Dil, upon Judy’s death, with whom he forms a romantic relationship. While it has been recognised that the film explores essentialism in terms of race and sexuality, these ultimately assist the main character Fergus ‘’in his becoming an enlightened subject’’ …show more content…
While in the past century it was modelled to encompass all things Irish to establish a strong disassociation with Britain, nowadays it is trying to redesign itself to reflect the modern Irish society. It is proving to be a difficult task as the national history, the lack of progression in the representation of women on screen, and the cultural and natural appeal of the country hinder the emergence of modern national identity that can be projected in reflection of current Ireland. The images of the Irish and Ireland that have been constructed in the past, and even in the present, have been monopolised by themes of violence, conflict, mythology and history, and prohibit the recognition of a Celtic Ireland that has developed past those motifs. As per Stoneman, the Chief Executive of the Irish Film Board from 1993 to 2003, the desire for the Irish cinema is
In the history of business, there has been a clear record of industry heads finding something or someone as a mainstay and bedrock for their respective companies or corporations; there is often a chief product that keeps many businesses afloat, even in the rough times. Apple found it's own in 2001 with the iPod. McDonald's has had the Big Mac since the late 1960s. Nike, however, found their goldmine in a person with Michael Jordan. Walter LaFeber's Michael Jordan and the New Global Capitalism tells the paints the picture of the rise of young Michael Jordan from his middle-class family in racist North Carolina up through college and into the NBA where he becomes an international sports icon. It tells the story of how Jordan catches the eye of Nike's ambitious co-founder and CEO, Phil Knight, and how he was transformed from a young, rebellious black hoopster into the face of a multi-billion dollar transnational corporation while stretching its touch all of the way to the far reaches of Asia. LeFeber's book also delves into the darker issues and topics addressing Jordan and Nike, such as race and sports and how they played a part during scandals that surrounded MJ off of the court along with the growth of Nike abroad and their dealing with technological changes in manufacturing while facing criticism for their labor practices.
Wagstaff, Christopher. “Italian genre films in the world market.” Hollywood and Europe: Economics, Culture, National Identity: 1945-95. Ed. Geoffrey Nowell-Smith and Steven Ricci. London: British Film Institute, 1998. 74-85. Print.
The Scottish and International Film Industry's Contribution to the Development of Scottish Identity in the Last Part of the Twentieth Century
The assumption of audience identity with the hero was never unproblematic, and of course the classical Hollywood model of filmmaking partially outlined above never existed entirely without challenge. Nevertheless, it is clear that up to the fifties the classical Hollywood model was relatively applicable and that challenges to it were largely ineffective. However, beyond the fifties, the model became increasingly irrelevant. The reasons for the downfall of the classical paradigm are complex, and related to economic changes within the industry (the forced dismantling of the vertically integrated studio system that placed production, distribution and exhibition roles under the one organisation) as well as wider cultural shifts that occurred during the sixties (the widespread social upheaval and increasing prominence of counter-cultural challenges ...
Mythology and folk tales have a longstanding history of representing a culture’s values and traditions. As the world advances often times these stories are lost in the next generations but efforts are being made to combat that, often times bringing key elements into visual media. Two such films to do so are Spirited Away (2001) and Song of the Sea (2014). Although separated by over ten years and from two different countries both have remarkable similarities not only because of the emphasis on native folklore but also in the characters and the message they deliver.
...e different types of movies but also the types of movies that Australia produce. As I have outlined in this essay many factors come into account when a film industry can be in crisis such as competition with similar industries, financial support to have the technology and equipment to create a movie. Although these factors may be true, globalisation has made it possible, through studios in Australian being more affordable for American directors. This then gives Australian’s the open doors that are needed to create a sophisticated film even if it is an American Australian film. Just like Rowley explains ‘in the last five years, it has been to more ‘local’ films, that aims at the Australian market and feature recognisable, everyday settings. The engagement of Hollywood genres often remains, but is no longer done in an attempt to emulate Hollywood slavishly’. (1998)
“It is more or less accepted that film’s function in our culture goes beyond that of being, simply, an exhibited object...film is a social practice for its makers and its audience; in its narratives and meaning, we can locate evidence of the way on which our culture makes sense of itself”(Turner, 1999:3)
Films are made to both entertain and educate, offering sources not only of joy but also knowledge and information. It is widely assumed that films, Hollywood movies in particular, mainly provide visual pleasure and happiness, as well as inviting them to make affective investments into the plot of a film. However, more than just a visual aesthetics, films, a major element of societal multicultural education, can be perceived from an educational point of view as acting as a functional educational tool, exercising enormous power to influence the ways mass audiences think, talk, feel, behave and desire. In this sense films hold the power
Moynahan, Julian. Anglo-Irish: The Literary Imagination in a Hyphenated Culture. Princeton, NJ: Princeton University Press, 1995.
Every person will identify themselves as having some sort of nationality. However, it is the conditions of classes and gender that affect the everyday lives of the individual. If the form of literature is an accurate reflection of public opinion, through the study of the novels The Wig My Father Wore, Anne Enright, and The Woman Who Walked into Doors, Roddy Doyle, we should see the terms by which contemporary Irish society identifies itself.
Since the inception of basketball in 1891, the game has become a contributing factor in shaping American culture. The birth of the NBA only served to cement basketball as one of the major sports in the United States. The NBA’s efforts to reach fans all around the world have been facilitated by emerging technologies and partnerships with foreign media providers. Due to it’s rich history with the game of basketball, China has become the NBA’s second largest market. A contributing factor to the NBA’s success in China has been China’s long standing collectivist culture. The NBA and basketball have been able to evolve with China’s emerging individualism in its younger generations. The continued success of the NBA in China will continue to grow with
In conclusion, we can see in film narrative The Birth of a Nation has progressed from the trick film narrative of Mary Jane’s Mishap to being identified according to Gunning as being of the third genre, due to both profitability and popularity of realistic cinema Moving from being of theatrical proscenium to complex cinematography to tell a story suited for the screen.
Throughout the course of history, the connection between nationalism and sport has been widely apparent. The level of priority and attention placed on international sporting events, such as the Olympics, truly shows how the relationship between nationalism and sport is both highly regarded by each nation around the world, as well as highly regarded by the people belonging to each nation. As a result of this overall importance placed on nationalism within the realm of sport, nationalist ideals are often utilized in support or promotion of certain sports teams. The Toronto Blue Jays’ highly successful 2015 season is a prime example of the spectacle in modern sport, as the team was repeatedly associated with nationalist ideals for the commercial
Few cultural or economic monopolies even come close to rivaling Hollywood’s stranglehold upon the world film industry. As a result, virtually every major Hollywood production that finds its way to audiences – be they in New York, London, Sydney, Shanghai, or Irvine, California – has a certain indelible Americanness to it. It will inevitably be labeled American, but truly, what makes a movie American, as opposed to American-British, American-Australian, American-Chinese, or some other combination? That is the very question at hand here, and its answer reveals some rather profound truths and phenomena about America and the English language’s complex roles in this increasingly globalized, postnational world.
Although it is played professionally and people make a living off it, basketball is a sport that brings many people together. Sherman Alexie is a Native American who grew up in Spokane Indian Reservation; most of his writing is based on his experience as a Native American. In Sherman Alexie’s poem “Why We Play Basketball”, basketball is not only for entertainment, it can be an intrinsic motivation for people aiming for a better future. Alexie uses basketball to describe his childhood. This poem answers the question why they play basketball because of their childhood experiences. Through use of many effective literary techniques Sherman Alexie conveys his personal experiences of when he played basketball.