The Differences Of National Cinema

In chapter two of The Cultures of American Film, the main focus is the establishment of studios. As demand for films rose in the early 1900’s, production companies needed to expand; this lead to the creation of large scale studios.

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.

Although cinema is now a priority, some feel as if cinema is no longer the cinema when it was first established. Movies no longer have that special feeling like viewers once had. Today, films are not only shared within a theater, if one pleases they could always have the same experience elsewhere. Moreover, with technology expanding, it takes away the importance cinema once had. “The

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

In surveying Australian film production over the last century, what visibly occurs is a general evasion of Aboriginal issues and an absence of any balanced representation of Australia’s notable Indigenous population. But I need to add, that things are changing. Several recent films seek to redress this imbalance and provide a substantial Indigenous storyline.

This essay explores the popularity of Australian film, both locally and internationally and asks the question: Is there a crisis in the Australian Film Industry? This essay will go through the current issues the Australian Film Industry and will demonstrate examples of those problems.

What is National Cinema ? A Question proposed by Tom O’Reagan in Australian National Cinema (2005). The question leads to the sociological understanding that national cinema is constructed by both national and international film industries, the national film text and also by the various cultural, social and political contexts. National Cinema is a vehicle for social processes, emerging social identity and movements. A film may categorised as a ‘national cinema’ based on a number of factors: the language spoken in the film, the nationalities or dress of the characters, the country that supports the film financially, the setting, music or cultural elements present in the film.

According to Richard Maltby (2003) commercial aesthetic is used to describe Hollywood’s aesthetics system, driven as it is by the existence of entertainment as a commercial commodity. From this perspective, Hollywood’s most profound significance lies in its ability to turn pleasure into a product we can buy. An understanding of Hollywood’s commercial aesthetic requires a consideration of both the formal conventions of Hollywood movies and the external social and cultural pressures that regulate movies as products of a system of mass production and distribution (pp. 580-581). Each Hollywood movie is best implicated as an 'opportunist ' congregation of unalike 'elements ' as reasoned out by Maltby. In order to best mollify the (perceived) market-place at a particular point in time these rudiments are transported together by producers and production companies.

The Australian film industry is currently in a point of crisis due to the lack of audiences attending Australian films, hence creating a decline in the revenue received towards our national industry. However, this is not due to the lack of creative talent, it is rather the many underlying issues that don?t allow the Australian public with the awareness and accessibility of these films. These problems are within the distribution, marketing and funding of these Australian films, allowing the national Australian community to not seek for films made by people within their nation due to negative pre-conceived notions and the convenience of going to see a Hollywood Blockbuster. These issues are seen through the poor release of both critically received films, Jennifer Kent?s The Babadook (2014) and Hugh Sullivan?s The Infinite Man (2014), both not gaining a wide audience. Through these issues within the industry, Australian filmmakers have not been able to create the revenue needed for these films to branch out to be easily attained by the public.

The producers will develop a test and the audience will tell the producers whether it is something they want to see or they are not going to see. This can affect the next text to be produced in an attempt to conform to the audience demands. Looking at the development of different types of genres and the development of films within the same genre, it’s possible to look at similarities and differences and identify changes in society and audience ideologies and tastes.

The costs, methods of distribution, and themes of Hollywood and Nollywood films reflect strongly their target audiences; how the target audience affects the production of a film and how the production of a movie is designed to capture a specific

Transnational cinema is a developing concept. It changes alongside the film industry. The ever-increasing of Diasporas and ever-developing cultural identity help shape transnational cinema. Transnational cinema is an emergence of cultural phenomenon and it develops though time. The clip I created aims to

The BBFC has commissioned me to undertake research as part of a project to ascertain to what degree films can be regarded as powerful within contemporary society. In this assignment, I will comprehensively explain the relationship between audiences and films with well explained examples. I refer to the different sectors relating to the topic that include the following:

“From the 1970s, a major cultural shift known as the ‘Maori Renaissance’ created a context for the emergence of a Maori perspective in New Zealand filmmaking.” The New Zealand feature film, Ngati is considered to be a product of the ‘Maori Renaissance’ and it remains a noteworthy film today for being the first film directed a Maori, namely Barry Barclay. This essay seeks to examine the racial representations of Maori and Pakeha, the historical context of the late 1940s and the Maori identity in Ngati. Barclay’s film is unlike previous films such as The Romance of Hinemoa, The Te Kooti Trial and Rewi’s Last Stand which was based on a dominating Pakeha perspective. The release of Ngati signalled a turn of tables in favour of Maori as they were able to present Maori and Pakeha representations, the historical context of the late 1940s and Maori identity from their perspective.