Mainstream Cinema: A Form of Reflection
Out with the Old…
Mainstream cinema is always, in some form, a reflection of the time or place it was made in. This reflection can be present within the filmic language in numerous ways; ideologically, technologically, geographically, culturally, ethically etc. It is because of this that non-contemporary films sometimes struggle to find a new audience within contemporary culture. As time passes, culture changes, and as a result films can quickly become out dated. Screen writer Charles Mortiz explains that narrative characters who share the same values and moral structure as their audience are more likable and sympathetic (2008). Consequently if the cultural context the film was created in is not present within an audience a films potential impact can be lost and it can fade into obscurity or worse; be scrutinized. An extreme example is Leni Riefenstahl’s Nazi propaganda film Triumph of the Will (1934); a film which supported the Nazi ideologies of the time which, in both western and modern German culture, are out dated and frowned upon. The cultural context that Riefenstahl’s film was created in no longer exists and as a result Triumph of the Will is considered German Ideology propaganda film, instead of a classic piece of cinema.
Attack of the Remake!
Perhaps loss of cultural context is the reason that the ‘Hollywood Remake’ is has become more and more prevalent in mainstream cinema. The ability for a studio to remake a movie allows a simple retelling of a story updated for modern audiences. It’s seems there are countless example of this, particularly in the Horror genre. Some noteworthy examples of non-contemporary western films that have been remade include; The Texas Chainsaw Massacre (1974, Remake 2003), Amityville Horror (1979, Remake 2005), Prom Night (1980, Remake 2008), Friday the 13th (1980, Remake: 2009), When A Stranger Calls(1979, Remake 2006), The Omen (1976, Remake 2006), My Bloody Valentine(1981, Remake 2009), The Last House on the Left
Mainstream cinema is always, in some form, a reflection of the time or place it was made in. This reflection can be present within the filmic language in numerous ways; ideologically, technologically, geographically, culturally, ethically etc. It is because of this that non-contemporary films sometimes struggle to find a new audience within contemporary culture. As time passes, culture changes, and as a result films can quickly become out dated. Screen writer Charles Mortiz explains that narrative characters who share the same values and moral structure as their audience are more likable and sympathetic (2008). Consequently if the cultural context the film was created in is not present within an audience a films potential impact can be lost and it can fade into obscurity or worse; be scrutinized. An extreme example is Leni Riefenstahl’s Nazi propaganda film Triumph of the Will (1934); a film which supported the Nazi ideologies of the time which, in both western and modern German culture, are out dated and frowned upon. The cultural context that Riefenstahl’s film was created in no longer exists and as a result Triumph of the Will is considered German Ideology propaganda film, instead of a classic piece of cinema.
Attack of the Remake!
Perhaps loss of cultural context is the reason that the ‘Hollywood Remake’ is has become more and more prevalent in mainstream cinema. The ability for a studio to remake a movie allows a simple retelling of a story updated for modern audiences. It’s seems there are countless example of this, particularly in the Horror genre. Some noteworthy examples of non-contemporary western films that have been remade include; The Texas Chainsaw Massacre (1974, Remake 2003), Amityville Horror (1979, Remake 2005), Prom Night (1980, Remake 2008), Friday the 13th (1980, Remake: 2009), When A Stranger Calls(1979, Remake 2006), The Omen (1976, Remake 2006), My Bloody Valentine(1981, Remake 2009), The Last House on the Left
References: Grant, B. (1996). The Dread of Difference: Gender and the Horror Film. Texas, University of Texas Press. Harper, S. (2007). “”They’re Us”: Representations of Women in George Romero’s ‘Living Dead’ Series ” Intensities: The Journal of Cult Media 1(3). Kirkman, R. (2007). The Walking Dead: Days Gone Bye. California, Image Comics, Inc. Moritz, C. (2008). Scriptwriting for the Screen. United States, Routledge. Paffenroth, K. (2006). Gospel of the living Dead: George Romero’s Visions of Hell on Earth. Texas, Baylor University Press. Russell, J. (2005). Book of the Dead: The Complete History of Zombie Cinema. England, FAB Press. Waller, G. (1986). The Living and the Undead : From Stoker’s Dracula to Romero’s Dawn of the Dead. Illinois, University of Illinois Press. Williams, T. (2003). The Cinema of George A. Romero: Knight of the Living Dead. United Kingdom, Wallflower Press.