National Cinema
Is the label “national cinema” still a useful one? Critically evaluate the usefulness of the term in relation to at least two films from this course.
1. floating life
2. chunking express
3. my blueberry night
Like different countries have different culture, customs and give people different feeling, as an important part of one’s culture industry, movies from different places gives people different sense of feeling. That’s the magic of National cinema. But under the big trend of globalisation, we now can find movies made by multiple countries. In this essay, I will discuss if the label is still useful or not and evaluate the usefulness of this term through two films.
The term ‘National Cinema’ is often used to describe simply the films produced within a particular nation state. ()When taking up the notion of `national cinema ' once more, it may be worth reflecting a moment on the question whether the cinema can and does function as an expression of national identity at all. Might the cinema not, rather, be valued and understood as the opposite of the national: a non-language-bound, trans-national cultural manifestation? ()
Talking about national cinema, we must look at the contemporary cinema.
Contemporary cinema, like other types of visual mass communication, is increasingly embedded in discourses of globalisation. However, as is the case with globalisation generally, its discrete manifestations are fu of paradox and tension. They are complex, heterogeneous phenomena, caught between their national or local origin, the homogenizing tendencies represented by the global village and its inroads on the particularities of the national, and the tendency for those at the receiving end of transnational cultural processes to reinterpret and reinvent extraneous cultural influences within their own field of mental vision, their own interpretive and behavioral currency.()
To talk about a 'national cinema ' is always to conjure up a certain coherence, that of
1. floating life
2. chunking express
3. my blueberry night
Like different countries have different culture, customs and give people different feeling, as an important part of one’s culture industry, movies from different places gives people different sense of feeling. That’s the magic of National cinema. But under the big trend of globalisation, we now can find movies made by multiple countries. In this essay, I will discuss if the label is still useful or not and evaluate the usefulness of this term through two films.
The term ‘National Cinema’ is often used to describe simply the films produced within a particular nation state. ()When taking up the notion of `national cinema ' once more, it may be worth reflecting a moment on the question whether the cinema can and does function as an expression of national identity at all. Might the cinema not, rather, be valued and understood as the opposite of the national: a non-language-bound, trans-national cultural manifestation? ()
Talking about national cinema, we must look at the contemporary cinema.
Contemporary cinema, like other types of visual mass communication, is increasingly embedded in discourses of globalisation. However, as is the case with globalisation generally, its discrete manifestations are fu of paradox and tension. They are complex, heterogeneous phenomena, caught between their national or local origin, the homogenizing tendencies represented by the global village and its inroads on the particularities of the national, and the tendency for those at the receiving end of transnational cultural processes to reinterpret and reinvent extraneous cultural influences within their own field of mental vision, their own interpretive and behavioral currency.()
To talk about a 'national cinema ' is always to conjure up a certain coherence, that of
Bibliography: Filmography