What is its nature, what are its specifically national characteristics, and what accounts for its spectacular lack of success in its home market?
Nobody can escape the loud voice of American cinema booming from every newspaper, magazine, television set and website.
But American cinema - the most hyped on earth - is also the most predictable, conformist and derivative. During the golden age of the Hollywood studio system, America produced much that was cleverly entertaining, despite being restricted by the confines of a conservative ideology and strict stylistic demands.
Today, more than ever, American films are brightly packaged unsubtle entertainments mass-produced for intellectually undemanding unders.
By the highest standards of cinema, American films fall short. It has always been thus, but to a far lesser extent. Hardly any technical or stylistic innovation came from America. Griffiths was inspired to embark on his large-scale productions after seeing the Italian epic Cabiria. Most of the earliest screen comedies were made by the French.
American horror movies and film noir came directly from German Expressionist films of the s.
The western is the only home-grown American art form. The American realist films of the s probably would not have existed without Italian neo-realists such as Robert Rossellini and Vittorio De Sica. American indies, which realised that films could be made on a small budget outside the studio system, would not have come about if it were not for the example of the nouvelle-vague and the other New Wave movements in Europe, Japan and Brazil.
It also took the puritanical American film industry ages to catch up with the sexual revolution, already explored long before in European and Asian films. I suggest that American cinema - with exceptions that prove the rule - still lags behind the times.
For anyone with an interest in films that explore the cinematic language and who sees film as a radical, contemporary art form on a par with the other arts, American cinema holds little interest.European film movements are most clearly understood as part of the cinema of periphery in relation to popular Hollywood productions.
In consideration of examples from one European country, to what extent is this an accurate view? and it is probably fair to say that there are more mainstream British films on at the cinema now than there were. The episode climaxes with a five-minute sequence interweaving disjoined sound and image from five different time frames (including one that never actually happened), rhythmically edited to convey a robust emotional arc—a presentational mode more common to European art cinema than American television but ultimately in service of a coherent.
studios signals a sea change in an industrial landscape that has long been fragmented by nation and language and film historians must begin contemplating what this change means for European cinema and global cinema more broadly.
The ROI case for smart cards in the enterprise The benefits of a converged logical and physical access solution A Datamonitor white paper prepared for. But English Canada cinema is working against pulverizingly strong linguistic similarities which call upon them to achieve much more in national differentiation from the hegemonic American model than .
Dumb Hollywood is forever in debt to Europe Hollywood falls short of European cinema - and has since the beginning. more than ever, .