The Scottish and International Film Industry's Contribution to the Development of Scottish Identity in the Last Part of the Twentieth Century

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,

The 1987 film documentary Ethnic Notions directed by Marlon Riggs, identifies the evolution of African American cultural depictions through ethnic stereotypes and caricatures in American culture. I feel Ethnic Notions exposes the roots of false generalization from the beginning and presents a series of classifications for racial depictions that still are noticeable in today's society. These racial depictions identified with in this film begin in the mid 1800's and continue thought to the 1960's. I now after viewing Ethnic notions agree that there are generalizations and depictions that are exaggerated in American popular culture and entertainment.

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

After viewing the first part of Legacies of Social Change: 100 Years of Professional Social Work in the United States, it seems evident that history continues to be presented from the view of those with power and does not acknowledge the downfalls of these movements. History, especially in the United States, is centered toward European and Western civilization and whatever benefits these groups. This film perpetuates this one-sided account of the history social work that worked to only help white people, while diminishing the challenges and progress people of color faced during this period. While one can argue that this film is dated, this is still occurring all throughout our history and has repercussions today. This can be seen with any

Even though a vast majority of us wish that it was possible to turn back the hands of time and change or rewrite history. However, the truth of the matter is that we simply cannot. Everything happens for a reason, and we should learn to accept it. Accept it for what it is, rather than what we would like it to be.

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.

The Australian cinema in the 1960’s failed to communicate with the audience due to their lack of promotional messages that weren’t disseminated. Media is formed by cultural, political, economic and social conditions. These influenced or even directed its characteristics and its intended meaning. After a devastating blow to the film industry in the 1960’s, filmmakers of Australia had stopped creating and making quality Australian films. However, the Australian New Wave brought a revival of the Australian film industry during the 70's, 80's and 90’s. It introduced Australian qualities into film, including larrikinism, mateship and a classless social hierarchy. The Castle and Gallipoli confirm, promote and explore features of Australian identity

This research will only concentrate on the extent of Americanisation in Australia through the influence on television and the film industry as the aspect of Americanisation covers a wide range from fashion to language. To fully understand the topic of the hypothesis, proper exploration of the definitions of ‘identity’ and ‘culture’ are of relevance. ‘Identity’ and ‘culture’ play an integral role in what an Australian represents as well as how the world views Australians. The meaning of ‘identity’ can be summarized as; ‘The collective aspect of the set of

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.

During this time the film studios grew in power, new stars and directors were discovered and the eight major studios produced more than 7500 feature films. “These films were released by the studios to audiences eager to be entertained. More than 80 million people attended at least one film per week. This period enjoyed the greatest collection of talent gathered in one place.” (Motion Pictures, The New Encyclopedia Britannica, Chicago, Encyclopedia Britannica, 2001)

In this book, King examines the Hollywood “Renaissance” from the late 1960s to the late 1970s as well as some of the industrial factors that shape the current dominance of the corporate blockbuster. King begins by stating that there are two distinct periods when addressing “New Hollywood” including the Hollywood Renaissance and the New Hollywood. Geoff King analyses new Hollywood dynamically and accessibly in his text and discusses diverse films, film makers and film companies apart from concentrating on the interactions between the film texts, social contexts, and their producers by using examples across Hollywood and its genres. He further discusses how positions of studios within media conglomerate, and the relationship between production for big and small screens as well as the influence of television, advertising and franchising on the New Hollywood have been transformed the form of the films (King 137-140).

As cultural identity being questioned in global screen due to the influences of transnational cinema and Diasporas in different places, this clip question further the possibilities in future transnational cinema. Through the emergence of cinema styles, all films are to be considered transnational. This essay will argue that transnational cinema could be emerging to a new level in the film industry. The clip provided with the essay explores the potential of transnational films with the context of films studied included in this subject.

Within a few minutes after the ambulance had pulled up to the scene, the paparazzi photographers descended and began to shoot pictures for so-called exclusives to be published in the following day's edition of their respective tabloids. One way or another, other journalists and their cameramen found their ways to the tunnel underpass in Paris on August 31, 1997, and the UK as well as the rest of the world received the breaking news that Diana, Princess of Wales, had died that night in a car crash.