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Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Hollywood, Now: The Member Companies of the Motion Picture Association
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Popular film financing/distribution/ licensing arms of these six
Inglourious Basterds: A VERY International Co-production
Inglourious Basterds: A VERY International Co-production
Inglourious Basterds: A VERY International Co-production
Inglourious Basterds: A VERY International Co-production
Mamma Mia
Mamma Mia
The Significance of National Personnel
The Significance of National Personnel
The Significance of National Personnel
The Significance of National Personnel
The Significance of National Personnel
The Significance of National Personnel
Rethinking Consumption: International Circulation
Rethinking Consumption: International Circulation
Rethinking Consumption: International Circulation
Rethinking Consumption: International Circulation
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Text-based Approach: Content, Themes, and Address
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Inglorious Basterds: Meta-Transnational Cinema
Mamma Mia
Mamma Mia
Mamma Mia
Mamma Mia
Mamma Mia
Mamma Mia
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Hollywood Europe: A Transnational film culture

содержание презентации «Hollywood Europe: A Transnational film culture.ppt»
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1Hollywood/Europe: A Transnational film 17Circulation. Distribution Economic
culture. Session Two Part 1: Hollywood ? necessity ensures most Hollywood fare is
Europe (?) Transatlantic Hollywood: or why made to be released internationally Uptake
Hollywood is more than an American Most consumers are “Cultural Omnivores”
Institution Department of Film and who are not loyal to what they see as
Audiovisual Culture Dr. Richard Nowell. “national” forms Hollywood films often
2Agenda. 12:35–14:15 Mamma Mia (2008) enjoy deeper penetration into non-US
14:15–14:25 Break 14:25–15:45 markets than the US Meaning Hollywood fare
Transatlantic Hollywood: Or why Hollywood is a meaningful component of the cultural
is more just an American Institution. experiences of countless non-Americans.
3Screening Questions: Inglourious 18How would you go about gauging the
Basterds. 1. Do you feel like you are extent to which a Hollywood film
watching an American movie? If so, what penetrated the cultural sphere of a
exactly makes it American? If not, why European nation?
does it not feel like an American movie? 19Inglourious Basterds: Ticket Sales
How else would you classify it? 2. How (Source: www.boxofficemojo.com). North
does this film dramatize some of Higson’s America: 37.5%/ International: 62.5% USA:
ideas? 25th/2009 Germany: 12th/2009 France:
4Agenda. Cinema and cross-border flows 11th/2009 Italy: 17th/2009 UK: 27th/2009
Hollywood International Transatlantic Spain: 13th/2009 Holland: 8th/2009 Czech
dimensions of Hollywood. Rep. 9th/2009.
5Reconsidering the Concept(s) of 20Mamma Mia!: Ticket Sales (Source:
National Cinema. To what does the term www.boxofficemojo.com). North America:
“transnational cinema” refer? In “The 23.6%/ International: 76.4% USA: 13th/2008
Limiting Imagination of Transnational Germany: 3rd/2008 France: 24th/2008 Italy:
Cinema”, how does Higson suggest 14th/2008 UK: 1st/2008 Spain: 5th/2008
cross-border flows undermine the notion of Holland: 1st/2008 Sweden: 1st/2008 Czech
national cinema? Rep.: 2nd/2008.
6Transnational Cinema: National Purity 21What important information do these
vs. Messy Reality. Cross-boarder flows of data not reveal?
money, people, goods, and ideas 22Meers: Rare Empirical Support of the
undergirding cinema are usually subsumed “Imbeddedness” of Hollywood. Meers study
under the term “transnational cinema” is quite rare in Film Studies, as it
Notions of national cinema are underpinned considers how Europeans think of Hollywood
by sense of national purity: Production ? His study sidesteps box office data, which
Content/Address ? Appreciation/Consumption shows the extent to which Europeans
The various cross-border flows gravitate to some Hollywood films Instead,
characterizing Hollywood complicate its he shines a light on how young Flemish
status as a nominally American institution audiences perceived Hollywood, and compare
… at all of these stages Crucially, flows it to other cultural products They were
between the United States and Europe drawn to the slickness, escapism, and
impact upon every Hollywood film ever plausible fantasies they saw in Hollywood
made, albeit in different combinations The films, and to American English Hollywood
cumulative effect of the transatlantic was was very much a part of their cultural
dynamis of Hollywood output makes it experience.
difficult to maintain the idea that 23How, in a general sense, does
Hollywood is American. transnational cinema complicate the
7The “Economic” Approach: Industry text-based approach … … in terms of the
Structure and the International content and themes of a film? … in terms
Circulation of Labor. What is Hollywood? … of how it addresses audiences?
and how does its structure undermine its 24Text-based Approach: Content, Themes,
nominally American status? and Address. 1. Most films do not focus on
8Hollywood, Now: The Member Companies a nation: A. Focus on tiny communities B.
of the Motion Picture Association of Dramatize international events C. Set in
America (MPAA). fantasy space 2. Viewers are invited to
9Popular film financing/distribution/ focus on perennials underpinning topical
licensing arms of these six multinational themes – honor, love 3. Audiences are
conglomerates. addressed as members of other types of
10Demystifying the Dream Factory: Brand community – e.g. youth.
and Structure. Hollywood is a group of 25How does the content and address of
financier-distributors-licensors (MPAA Inglourious Basterds complicate the
members), each owned by a multinational text-based approach? How does the content
corporation These companies outsource and address of Mamma Mia! complicate the
production to independent companies, text-based approach?
around the world, who in turn outsource 26Inglorious Basterds:
aspects of production These operations Meta-Transnational Cinema. Content Focuses
involve numerous individuals and companies on international events and transnational
scattered across the globe – some in cinema Spotlights regional, ethnic,
European countries The notion of Hollywood political, and taste communities (not
imbues these countless temporary relations national though) Themes Perennials:
with a reassuring but misleading sense of revenge, power, fate, hubris Address
unity “Hollywood” is in effect a brand International cine-literate audience:
name for an internationally structured young hip “indie” crowd defined by taste.
institution whose spiritual and ancestral 27Mamma Mia!: Meta-meta-transnational
home is in the United States. Pop. A multi-layered expression of the
11Inglourious Basterds: A VERY transatlantic circulation of shared
International Co-production. Production popular culture 1. Producers seek to bring
Companies: US and German Distributors: moviegoers together across the globe
(Mainly US) Writer- Director: Quentin around the film Mamma Mia! 2. The
Tarantino (US) Cast Brad Pitt (US) Melanie international community-building role of
Laurent (France) Christoph Waltz (Austria) popular culture is spotlighted on the
Michael Fassbender (DE-IE) Diane Kruger screen [Characters overcome problems and
(DE) Daniel Bruhl (ES-DE) Til Schweiger unite around a shared love for
(DE). internationally known ABBA music] 3.
12The Mamma Mia!: A US/Pan-European Indeed, that music showcases joy of
Hollywood Co-production. Production international cultural exchange:
Companies: Universal (Multi-national) lyrically, stylistically, tonally.
Relativity (US) Littlestar (UK) Playtone 28What could be more Hollywood than
(US) Internationale Filmproduktion Richter British and American actresses singing an
(DE) Distributors Universal (and UIP international hit song - with a Spanish
[Universal and Paramount[) Producers name, written in English by Swedes and
Swedish and US (inc.Tom Hanks and ABBA!) played in a style accented by
Director: Phyllida Lloyd (UK) Writer: internationally recognizable Spanish and
Catherine Johnson (UK). German folk music – from a
13Mamma Mia!: On-Screen Talent – a US-German-Swedish-British coproduction
transatlantic ensemble. Amanda Seyfried about a wedding between a Brit and a
(US) Meryl Streep (US) Stellen Skargard Greek-born woman of American and unknown
(Sweden) Pierce Brosnan (Irish) Colin European parentage on a Greek isle, which
Firth (UK) Julie Walters (UK) Chrisitne was one of the most-see films of 2008 in
Baranski (US) Rachel McDowell (UK). countries such as Holland and the Czech
14Why might it be the case that the Republic?
nationality of creative talent be deemed https://www.youtube.com/watch?v=dmFhcst0s9
to be important? Upon what rather .
questionable assumptions does this 29In Sum. Despite its reputation,
position lie? Hollywood is best approached as an
15The Significance of National international institution with both
Personnel. Supposedly bringing a American and non-American dimensions
specifically national perspective to the “Hollywood” is a brand name for myriad
material: Speilberg as American Assumes global operations conducted under the
that: 1. Such a thing as a national auspices of six multinational
perspective exists (back to the national conglomerates Hollywood utilizes the
discourse problem) 2. Personnel act upon international circulatiom of capital,
it in their work lives 3. Other aspects of goods, people, and ideas to assemble
identity are not mobilized We do not know, products for international markets
we posit intention based on our OWN Hollywood films often tell international,
understanding of the material. regional, or post-national atories, and
16How does the concept of transnational cannot avoid being underpinned by
cinema complicate traditional conceptions perennial themes These films are
of the consumption based approach? What invariably intelligible to, consumed by,
does Meers study tell us about. and play important roles in the lives of
17Rethinking Consumption: International international audiences esp. in Europe.
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Hollywood Europe: A Transnational film culture

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