The Transition to Flexible Specialisation in the US Film Industry: External Economies, the Division of Labour and the Crossing of Industrial Divides

The most active phase in the work of the Quartet of international intermediaries was connected with the attempts to implement the Road Map plan for the Israeli-Palestinian peace settlement. The significance of the Road Map lies in the fact that it is the plan on the Israeli-Palestinian peace settlement which was, for the first time ever, collectively drafted by the global actors and accepted by both conflicting parties To facilitate the implementation of the Road Map, a peculiar "division of labour" based on historical roles which each member of the Quartet had played in the Middle East settlement, emerged inside the Quartet. The work of the Quartet as a collective intermediary was complemented by individual actions of its members which influenced or were supposed to influence the Road Map implementation. The complex analysis of the examined problem conducted by the author in accordance with his own criteria revealed that all other activities of the international intermediaries were, in one way or another, connected to the Road Map. They were either implemented mainly within the framework of the aforementioned peace plan, or were connected with the efforts to create conditions to get the parties back to implementation of that plan, or were aimed at including alternative programmes into the framework of the Road Map. Quartet's activities to implement the settlement plan couldn't avoid the influence by the United States and a special character of the US-Israeli relations. The US leading role in the work of the Quartet led to a series of events which aggravated the Israeli-Palestinian peace process and became decisive for further development of the conflict which in the end led to the current stalemate. Nevertheless, the very fact of the Quartet creation, which evidenced that even the most influential global actor has no power to solve all aspects of the regional conflict on its own, became a sign of gradual transformation of a unipolar world towards a multipolar one.

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Other voices, other rooms? The relevance of dubbing in the reception of audiovisual products

Linguistica Antverpiensia, New Series – Themes in Translation Studies ◽

10.52034/lanstts.v6i.189 ◽

2021 ◽

Vol 6 ◽

Author(s):

Víctor M. González Ruiz ◽

Laura Cruz García

Keyword(s):

New York ◽

Empirical Study ◽

Police Officer ◽

Film Industry ◽

National Origin ◽

Cultural Impact ◽

The Us ◽

Audiovisual Translation ◽

Arabic Speaking

Unlike subtitling, the process of dubbing does not give the audience the opportunity to fully perceive the cultural gap between what they hear and see, and their own reality. This takes on a new dimension when the customs and the characters which are being depicted in the foreign film are not the ‘standard’ ones (i. e. those from the US) but those belonging to ‘marginal’ cultures (e.g. European, African or Asian).Let us take the imaginary example of a Moroccan film in which a character representing an Arabic-speaking Tuareg, whose voice has been dubbed into Spanish, uses the same kind of perfect Castilian as audiences usually hear in the mouth of a New York police officer in an American series dubbed into Spanish. The cultural impact of a different language is supposedly lost when the dubbing makes all the voices sound the same.This paper will discuss the influence of dubbing on the audience ’s perception of a range of films in the context of Spain ’s film industry. We will offer an empirical study with the aim of identifying the elements which filmgoers use to situate a film, and even question whether (and to what extent) the process of dubbing effaces the cultural and national origin of a film. The conclusions drawn will contribute to the research on the reception of (audiovisual) translation.

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Puissance et interdépendance : Le nouveau róle mondial du Japon

Res Publica ◽

10.21825/rp.v29i4.18932 ◽

1987 ◽

Vol 29 (4) ◽

pp. 555-574

Author(s):

Michèle Schmiegelow

Keyword(s):

International Relations ◽

World Economy ◽

Third World ◽

International Relations Theory ◽

Division Of Labour ◽

International Division ◽

The Us ◽

The Third World ◽

The Impact ◽

External Economy

Long considered as an economic giant and a political dwarf, Japan begins to solve this paradox by acquiring a political weight on the international scene. lts diplomacy remains non-assertive and its military role limited. But it has an increasing influence on the structure of the world economy by the size of its GNP, the composition and spread of its external economy and its capital ftows, and by the impact of its industrial policy on the international division of labour. The growing macroeconomic and financial interdependence between the US and Japan has an incidence on defence high technology and on the transfert of resources to the Third World. Japan's new status as a world power is acknowledged even by Gorbachov's « Eastern » policy. Japan's case weakens the assumption of the realist paradigm of international relations theory that power and interdependence are incompatible.

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Transatlantic Film Studies in the Age of Neoliberalism: Towards a Postnational Cinema?

Transatlantic Studies ◽

10.3828/liverpool/9781789620252.003.0025 ◽

2019 ◽

pp. 299-312

Author(s):

Antonio Gómez López-Quiñones

Keyword(s):

Latin American ◽

Film Studies ◽

Film Industry ◽

Historical Context ◽

Cultural Hybridity ◽

Nation State ◽

National Cinema ◽

Popular Cinema ◽

The Us ◽

Rules Set

This essay argues that specialists in Transatlantic Film Studies need to contextualize their research agendas within the growing intensification of globalizing forces, above all, transnational capitalism. Within this historical context, the customary intellectual praise for aesthetic and cultural hybridity, alterity, self-dislocation and cosmopolitan deterritorialization is, at least, partially misguided. Due to the financial specificities of the film industry and its pervasive social preeminence, Transatlantic Film Studies have been a favorable academic venue to negatively evaluate the constrains, narrowness and reductive essentialism of the nation-state, as well of national communities and traditions. One should not overstate this argumentative gesture for three reasons. First, transatlantic artistic collaborations are never symmetrical and tend to be mediated by strong socio-economic and geopolitical inequalities. Second, the filmic interconnection between Spain and Latin American does not take place vis-a-vis, but under the commercial rules set by the US audiovisual mega-industry. Finally, it is a (partial) mistake to eulogize cultural miscegenation, migrancy and rhizomatic self-proliferation when many emancipatory, anti-imperialist movements have traditionally found and still find traction in autochthonous practices and habits. This is why the idea of a national cinema and specially of a national-popular cinema still deserves a careful, more dialectical attention.

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The FPA, US Propaganda, and Postwar Japanese Cinema

Cinema and the Cultural Cold War ◽

10.7591/cornell/9781501752315.003.0003 ◽

2020 ◽

pp. 47-67

Author(s):

Sangjoon Lee

Keyword(s):

United States ◽

Southeast Asia ◽

Motion Picture ◽

Film Industry ◽

The United States ◽

Asia Pacific ◽

Pacific Region ◽

Japanese Cinema ◽

Japanese Film ◽

The Us

This chapter recounts how Nagata Masaichi, president of Daiei Studio in Japan, pitched the idea of founding the Federation of Motion Picture Producers in Southeast Asia (FPA) and an annual Southeast Asian Film Festival. It discusses the consensus among American foreign officers stationed in Asia that communists had infiltrated the Japanese film industry since the end of the US occupation of Japan in April 1952. It also describes the activities of the “Reds” in the Japanese motion picture industry that is considered a threat to the United States' strategic Cold War interests in the Asia-Pacific region. The chapter cites Rashomon, which won the award for Best Foreign Language Film at the Oscars and elicited simultaneous respect and jealousy from other nations in the region. It elaborates how the unprecedented success of Rashomon rapidly established Nagata's presence in the Japanese film industry.

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