Transnational cinema is the move away from distinctive nationalistic cinema, towards a more universal system of cinema. This ‘universal’ system is influenced by a greater control of western cinema, pushing towards ‘Americanness’ becoming the identity of global cinema. Nationalistic and cultural ideals can take a back seat towards what is financially and economically beneficial to the inner workings of the film industry. Much of this shift is due to the greater economic control of western cinema and capitalistic influences over cinema markets worldwide. This in turn, has built a global film industry in which the economic benefit not only controls what films are made, but how and where the film is made. A quote from the lecture in week 3 stood out as a great description of this shift:
“The cultural Industries, especially the film industry have always played a central role in the global strategy of the US. When “culture” is turned into an industry, its economic and cultural functions become intertwined. The export of cultural products creates new markets and profits; at the same time, cultural values are also exported through the medium of the commodity. In turn, the propagandist effects of cultural commodities accelerate the expansion of overseas market.”
Yin & Xio in Lee (2011, p. 34-35)
Looking at the last 3 weeks of films and the countries/cultures they are founded, (Japanese, Hindi, Chinese & Taiwanese) the shift towards transnational cinema is quite apparent. With the intertwining and exposition of cultural values towards a global market and how they relate tot he economics of transnational cinema as a whole. The spectacle of all these films Yojimbo (1961), Om Shanti Om (2007) and Crouching Tiger Hidden Dragon (2000) all are relative to their culture and nationalistic themes and how they also intertwine to western values. In this sense substance can be lost, but the entertainment factor and visual elements remains that connect them. From how the Samurai films of Japan such as Yojimbo can be related to the Western genre of Hollywood cinema, with their almost mythical/storied aura, iconic attire, ethos and way of life it is easy to see how these two genres can not only be compared, but influence each other. To Bollywood cinema and how the music, dance and iconic attire can be compared to the musical genre and way in which Hollywood cinema operates with its structures and formulas. Then to an even more extreme such as a Taiwanese film such as Crouching Tiger Hidden Dragon where some cultural accuracies and themes are sacrificed for the purposes of spectacle and marketability towards a more global audience. Which in a lot of ways is influenced not just by the filmmakers desire to market it globally, but from the funding of these films, which in the transnational cinema of today is funded by many companies over various countries. With the growing of transnational cinema, and American dominance over global cinema, it begs the question, will nationalistic cinema survive?
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August 11, 2017 at 12:45 am
As cinema becomes more and more universal and more countries film industries try and reach an international audience, I think there is a shift towards westernisation of other countries films, like you said, and I’d be interested in an analysis of whether other film industries are influencing the American film industry in return, or whether its completely one sided. Your comment on how economic benefit controls what films are made is probably a huge factor in what countries styles are adopted into other film industries, Hollywood is so huge and has such a huge audience that other countries film industries want to capitalise on, but other industries are a growing market that eventually, America will potentially compromise in order to access
August 11, 2017 at 1:31 am
I definitely feel as though transnational films will lead to a greater westernisation of many other countries film industries, as it already has. I don’t see America being as influenced by other countries as to the ‘types’ of films they produce. But definitely where they make these films, as many films are made/filmed in Australia for financial reasons. It is just as beneficial for countries to make it easy for there American market to film in and use, for their own economic benefit. It in turn can create a more significant film industry in the country, however will most certainly connect western cinema to that particular country greatly. The influences I see from other countries in America will always be the political undertones, themes and filmmaking styles, which comes down to the directors. As long as their are filmmakers out there that are well versed in many international productions, they will be able to take inspiration from their and add new things to western cinema from other cultures.
August 15, 2017 at 5:33 am
“To Bollywood cinema and how the music, dance and iconic attire can be compared to the musical genre and way in which Hollywood cinema operates with its structures and formulas.”
I think it’s important to note how national cinemas, such as Bollywood, have, or are, influencing Hollywood, too. I think Bollywood’s influence over Hollywood cinema became apparent when the Bollywood-styled picture, ‘The Slumdog Millionaire’, won 8 Academy Awards. However, even before that, Baz Luhrmann’s picture, ‘Moulin Rouge’ has an obvious Bollywood influence and even uses Bollywood songs.